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Amazing, humble, talented, skilful, extraordinary, articulate, open, easy, focused…. You can add your own words to the list because diction is never really a problem when it is Evison Matafale that you are talking about.
But in case you don’t know, or never heard, until his tragic death exactly two years ago, this week, Evison Matafale was to Malawian music what Bob Marley is to reggae.
The local reggae icon’s career spanned a little over two years with two hit albums Kuyimba 1 and Kuyimba 2 but it was his dedication to reggae music earned him a place in people’s hearts that he holds today.
His music from both numbers has been described as ‘simply beautiful’ and ‘soulfully uplifting’. He has often been called the ‘King of Malawian reggae music’ and is undoubtedly one of the greatest musicians Malawi has ever produced.
Yet, apart from the individuality of his music, Matafale’s enduring popularity has largely resulted from his powers as a lyrist. Most of his songs focused on the social and economic issues that govern people’s lives and, with an infectious sense of honesty that prevails throughout his music, his appeal extends to young and old alike.
And in interviews with Weekend Nation a few months before his death, Matafale disclosed the sources of his inspiration.
“I strongly wish to help other Rastas’ work in Africa to make people look at Rasta with a positive attitude and make them understand that the God we are worshipping is the same. But we fail to get his blessings because the connection between H.I.M (His Imperial Majesty) and us is totally disturbed and remade for personal gains,” Matafale explained soon after recovering from a battle with TB in May 2001.
Matafale was strong in his Rasta beliefs, as evidenced by his trademark dreadlocks and reference in his songs to his religion such as Rasta Has The Answer, Nkhoswe, Sing a Song, Freedom, We are Chosen and Mkango Wa a Yuda.
This devotion is more evident in Kuyimba 2 than it is in its forerunner Kuyimba 1. Whereas in Kuyimba 1, he has his attention on social and moral injustices, Kuyimba 2 is more of an exhibition of his personal beliefs and devotion to the Rastafarian faith.
In yet another previously unpublished interview with the paper after he shed his dreadlocks, Matafale explained that the action was spurred by a belief that he was renewing his covenant with his maker.
“People are responding negatively about it [shaving dreadlocks] but I am trying to make them understand that this is my way of worshipping my God. This is my covenant between me and my God. Dreadlocks are not just dreadlocks – they are grown upon an agreement or covenant between the grower and God.
“So as a Rasta, I was supposed to begin growing my dreadlocks again so that there is room for my vow because I have renewed my covenant with the Most High,” he said.
Matafale, who had his first music lessons with elder brother the late UDF Regional Governor for the South Davis Kapito at the local Chimkango Seventh Day Adventist church in Chileka, claimed his SDA upbringing might have nurtured his belief in Rasta.
“It was easy for me to understand [Rastafarianism] because it had the same concept of Jesus Christ as the saviour of all mankind and the son of God.
“The only difference is that we black people choose to understand and preach about the same concept in a different style. Ours is mainly based on the Old Testament,” he explained.
“God does not show himself. He uses people, prophets to show himself just as he showed himself in Elijah, Jacob, Moses and as He appeared in Jesus Christ, His son.
“When Christians talk about God, they end at Jesus. Rastas go further because there is the trinity that we have to explain. Christians do not talk of God further than Jesus. We strongly believe that the same God showed himself in Ethiopia as Father, Lord of Lords, King of Kings and the Conquering Lion of the Tribe of Judah.
And in another interview a few months before, Matafale, citing the numbers Nkhawa Bi and Zaka Zonsezi, disclosed that love had also inspired him to compose.
“Girls that I have fallen in love with have always let me down, maybe I have also offended them. But what I can say is that I have always been let down in love. Though I have learnt that it is almost everybody’s experience, to me it has its own kind of bitterness so much that the pain that lovers caused in me is very much the basis of these songs.
“In fact, so much that these kind of songs from me will be endless. I never knew that my bitter experiences in love would be everlasting and they haunt me so much,” he said.
Matafale meteoric rise to stardom in early 2001 was thanks to his infectious hit Watsetseleka from his debut album Kuyimba 1, a song commenting on morality gone wrong – which was uncharacteristic of Matafale. He seemed to love to sing about the need for justice, freedom, social justice but above all, Rasta.
Matafale was never a man to keep his temper levels too low. He was often in trouble for venting his anger. One such incident, as reported in the media then, was his confrontation with music distributor O.G. Issa.
Matafale reportedly broke a counter glass in the ensuring argument. The incident was reported to Police, who, it is said, issued a warrant of arrest to have Matafale arrested. It formed the basis of the song Policeman Hunt Matafale, included in Black Missionaries’ Kuyimba 3.
He also fell out with his promoter Maneno Mtawali over disagreements in sharing money from the sales of Kuyimba 2.
Matafale was also at the centre of controversy when he lashed out at Asians at the FM 101 celebrations at Kwacha Hall in Blantyre two years ago.
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