Twenty-five years after the release of her debut album “A Cry, A Smile, A Dance”, Judith Sephuma, is hearing one of its most loved songs reimagined in a way she could not have foreseen when she first recorded it.
Her 2001 song “Iya Iyo” has now been remade by a younger generation of South African producers in celebration of the 25th anniversary of the debut album.
Amapiano producers Stixx, Shazmicsoul and C-Blak each brought their own sound to the song on the “Iya Iyo” (Remixes) EP, released in August.
Even prior to achieving chart success, expanding their digital streaming following, and shaping South Africa’s modern electronic music scene, the producers were already familiar with “Iya Iyo”.
They first encountered its melodies in their childhood homes on their parents’ sound systems, well before beginning their own studio careers.
The four-track project includes the original recording alongside the three remixes, bringing Sephuma’s jazz and Afro-soul-rooted sound into conversation with contemporary South African music.
According to Sephuma, the significance of the project goes beyond hearing an old song in a new sound. It is also a reminder that music can continue to find people long after the moment in which it was created.
Speaking to “The National”, Sephuma reflected on what it has meant to see the music from her debut album continue to live in the memories of listeners and now reach artists who grew up hearing it.
“It is quite amazing, and it’s such a relief to know that the music is still getting the attention it deserves. There’s so much that is still in this music and it is definitely still being enjoyed. I believe so much more will still be enjoyed and explored in the years to come,” she said.
That continued interest has also given Sephuma an opportunity to think about what has allowed the music to last.
When “A Cry, A Smile, A Dance” was released in 2001, Sephuma was establishing herself as one of the distinctive voices in South African jazz and Afro-soul.
Twenty-five years later, she believes one of the lessons younger artists can take from that period is the importance of staying true to the music.
“I believe the authenticity of the music is what I think can be observed,” she said.
For the singer, that authenticity was also supported by strong songwriting and melodies that could connect with a wide audience.
“The writing skill that is ear friendly to all and the simplicity of the melodies but yet not so simple,” she added.
It is a quality that has allowed the music to move beyond its original audience. While the music remains rooted in the period in which it was made, it has not been confined to it.
The three remix producers belong to a generation that encountered Sephuma’s music much earlier in their lives, with the song becoming part of their own musical memories before they eventually found themselves working with it.
Stixx has taken the song into an amapiano space, while Shazmicsoul and C-Blak have each approached it through their own production styles. The intention across the project is not to erase the original, but to allow the song to exist in a different musical moment.
To Stixx, one of amapiano’s most exciting young producers, “Iya Iyo” is inseparable from his childhood memories.
“The first time I heard it was because Judith was my mother's favourite artist. That whole album was always playing. That particular song always brings back childhood memories,” he recalled.
As a student of jazz as much as amapiano, Stixx was drawn to the song’s rich musical progression. His remix brings “Iya Iyo” into an amapiano space without losing sight of the musicality that made the original special.
“I’m such a jazz fan. I tried putting the song in the same element, but in an amapiano pocket. I wanted to combine both worlds,” said Stixx.
For Sephuma, that meeting between generations is one of the most meaningful parts of the project.
“This means that we are definitely merging the current generation with an old sound that is so current. A sound that will forever unite us and remind us of the days when games like “morabaraba”, “Kgati”, and so forth brought the best out of us,” she said.
Throughout her artistic journey, Sephuma has curated an expansive discography that bridges the worlds of Afro-soul, jazz, and gospel. This legacy includes works such as “New Beginnings”, “Change Is Here”, “I Am a Living Testimony”, and several landmark live recordings like “The Experience” and “My Worship”.
Her soulful expression has resonated both domestically and on global stages, resulting in numerous platinum-certified releases. Even as she enters her third decade of performance, Sephuma remains an evolving artist, maintaining a deep bond with the foundational songs that first defined her voice.
Today, her music continues to find fresh ears, effortlessly transitioning onto modern digital platforms while preserving its timeless appeal.
And 25 years after “A Cry, A Smile, A Dance”, one of South Africa’s most celebrated voices is watching that process happen with a song she once simply hoped people would appreciate.
nomathamsanqa.sithathu@nationalmg.co.za