S’nazo Signs a Deal with Gresham Records
Sensational Afro-soul artist, S’nazo, has signed a career-defining licensing deal with the David Gresham Entertainment Group’s music publishing division.
The deal will see her join Gresham Records’ star-studded list of South African and international acts, such as Childish Gambino, Goapele, Rouge and many others.
According to S’nazo, the agreement presents her with an opportunity to access global markets without losing the authenticity of her sound. “Gresham’s offer came at a point in my career when I know what I want, and that is to write and record songs that will heal nations of the world. I’m literally witnessing my prayer point being answered right before my eyes,” states the soulful vocalist who holds a social sciences degree from the University of the Free State.
The agreement kicks off with S’nazo’s new offering, Ngikhathele, and will . The song has already won the hearts of thousands of her followers, scoring raving reviews at the recently held Afro-Soul Music Festival. She narrates the song as a soulful composition that spreads hope and prayerfulness in the face of discouragement.
“I was at a point of vulnerability with God. I was being honest that I knew what His word says concerning me; that He has plans to prosper me and not to harm me, that I’m the head and not the tail. But I was still feeling discouraged,” recalls the thrilling performer who has been nicknamed “The Girl with Pipes” for her vast vocal capabilities. She concludes: “Even so, I also knew that He was the only source of strength, which is a blessed assurance expressed in the second verse of the song.”
Ngikhathele was recorded, mixed and mastered by MicTac. All vocals are delivered by S’nazo, surrounded by a local gang of instrumentalists. S’nazo’s music director, Mmusi Chere, plays keys (padded by Hloni Molaba). Multitalented musician, Tintswalo Ndlovu, paces the song’s groove on the drum. Pastor C’ya Malaku roars mightily on the bass. And lead guitarist, Shane Justice, rubs the soothing melody in the heart where the song belongs.
Originally published at Art State.
