If you were at the Standard Bank Joy of Jazz this past weekend, you would know that trying to stick to a schedule was almost impossible.
The two-day festival brought the Sandton Convention Centre in Johannesburg to life on September 25 and 26, with music lovers moving between four stages to catch performances from local favourites, international stars and artists they may have been hearing for the first time.
There was always another performance to get to, another sound coming from a nearby stage and another crowd gathering to see an artist they had been waiting for. For me, that was part of what made this year’s festival different from my first experience in 2025.
Last year, I found myself worrying about which performance I would miss whenever two artists I wanted to see were on at the same time. This year, I was more comfortable with the idea that I could not see everything. Instead, I allowed myself to discover what was happening around me.
One of those discoveries was Sydney Mavundla at the Conga Stage. I was not familiar with his music, however, his performance of “Dirge for our Forefathers”, from his 2024 album of the same name, immediately caught my attention.
His storytelling through song was particularly interesting, while the upright bass and piano added another layer to the performance. I left the stage wanting to hear more and, after doing a quick search, added the album to my music library.
That is one of the things that makes Joy of Jazz such an enjoyable experience. You can arrive knowing exactly who you want to see and still leave having discovered someone completely new.
Neo-soul singer and actor Kabomo Vilakazi, who has attended the festival since its early days in Newtown and has also performed there, said he has watched that experience grow over the years.
“I came in Friday,” he said when asked about this year’s festival, before explaining that he has been attending Joy of Jazz since it started.
He remembers the festival when it was still held in Newtown and said he has seen the audience and artist curation grow, particularly since the festival returned after the Covid-19 interruption.
“I love the festival. I love the way they put it together,” he said, adding that it was encouraging to see some of the venues filled this year.
For Vilakazi, the loyalty of South African audiences towards local musicians is also something worth celebrating. He pointed out that even when major international artists are on the line-up, audiences still turn out in large numbers for local performers.
“I really love that about South African audiences. They’re very loyal,” he said.
He also believes the younger generation is helping to change the perception of jazz as music only for older audiences. The combination of jazz with soul, R&B and neo-soul has opened the genre up to younger listeners, he said, while young musicians are also bringing more live instrumentation and brass into their music.
He singled out Thando Zide, whom he had watched perform at a neo-soul show, praising her versatility, vocal range, approach to music and ability to interact with an audience.
“I do find young artists today way braver than our generation,” he said.
That mix of generations was visible throughout the festival. Younger audiences, myself included, filled the Mbira Stage for Manana before making a quick dash to the Conga Stage for Grammy-nominated New Orleans group Tank and the Bangas.
Lead vocalist Tarriona “Tank” Ball delivered an energetic performance, interacting with the crowd while the rest of the group kept the room moving. It was one of those performances where sitting down became increasingly difficult.
The “Colour of you” hitmaker also enjoyed the opportunity to see artists he already knew alongside musicians he was discovering for the first time. His highlights included Judith Sephuma, Floetry and Kamasi Washington.
He also walked into a hall during the festival and found a woman singing in French. He did not know who she was, but the performance left an impression on him.
“I like that about festivals, that it introduces you to new artists, people you’ve never heard of before. I like the educational element of the festival,” he said.
That sense of discovery is particularly fitting for a festival that has been part of South Africa’s jazz landscape since 1997. The 2026 edition marked its 27th year, with the festival having grown from much smaller beginnings into an established event that brings international artists together with leading South African musicians and emerging talent.
Standard Bank says the festival has grown from an audience of about 2,000 to more than 36,000 over its history, while continuing to provide a platform for emerging jazz artists.
This year’s line-up reflected that mixture, with international names including Angélique Kidjo and Kamasi Washington alongside Thandiswa Mazwai, Manana, the Mkhize brothers, Internet Athi and Gurulogic.
For me, one of the biggest highlights came when Thandiswa Mazwai paid tribute to Hugh Masekela at the Mbira Stage.
Her performance of “Stimela” had the audience on its feet, singing along as Mazwai delivered the song with a stage presence that made it difficult to remain seated. She also performed some of her own hits, including “Zabalaza”, as well as “Thanayi”, her collaboration with Masekela.
There was something beautiful about watching the audience respond to “Stimela”. It was not simply about hearing a familiar song. People were singing from the depth of their hearts, completely immersed in the performance.
Walking through the Sandton Convention Centre throughout the evening, that connection was everywhere. Friends moved between stages together speaking about the artists they had just watched, and people in traditional attire added to the atmosphere of a festival taking place during Heritage Month.
For someone attending Joy of Jazz for the second time, I left with a much deeper appreciation for the experience. I still missed some of the performances I had planned to see, however, this year I was less concerned about that and allowed myself to go with the flow.
Sometimes, walking into a stage without knowing what to expect is exactly how you find something worth listening to.
nomathamsanqa.sithathu@nationalmg.co.za