“Zamrock Reborn: WITCH’s ‘Sogolo’ Sparks a Fierce and Funky Future”

Reviewed by Halina Wegner for Jace Media Music

There are few bands on the planet that can say they helped define a genre, disappeared into obscurity, then came roaring back decades later with a relevance that feels almost prophetic. WITCH—Zambia’s Afro-psych rock trailblazers—are that band. With their latest release, Sogolo, the pioneering Zamrock collective deliver not just a triumphant follow-up to 2021’s Zango, but a boundary-pushing, soul-pounding record that straddles past, present, and future with fearless precision.

Named after the Chichewa word for “future” or “front,” Sogolo is both a declaration and a mission statement. It finds frontman Emmanuel “Jagari” Chanda—now in his 70s and as charismatic as ever—steering the band through a new era alongside keyboardist/composer Patrick Mwondela and a tight, multi-national ensemble. The album was forged in the crucible of touring life, recorded during a ten-day break in Berlin, capturing the heat and energy of the road in real time.

From the opening notes of “Kamusale,” WITCH make it clear: they are not interested in nostalgia. They are here to build something vibrant and new. The track bristles with raw, garage-rock urgency, but beneath the fuzz and fury lies a surprising source—a Bemba children’s song. Jagari transforms it into a cautionary tale about choosing life partners wisely, anchoring it with vocals that channel both folklore and punk defiance.

Then there’s “Queenless King,” an equally funky and fierce cut about the emotional wreckage of a marriage driven by lust over wisdom. Both tracks highlight Jagari’s knack for storytelling, using allegory and folk references to explore modern dilemmas with universal appeal. His voice, cracked with age but rich with experience, carries every line like a sermon.

But Sogolo isn’t just Jagari’s stage. This is a true ensemble effort. The record features Zambian singers Theresa Ng’ambi and Hannah Tembo, whose voices lend the album warmth, urgency, and dynamism. On the hypnotic “Machiriso,” Ng’ambi sings of love and peace, her voice floating over a loping Afro-rap rhythm born out of an impromptu bass jam. The fact that it began during a lunch break, completely unplanned, speaks to the intuitive synergy among the band.

“Nibani” takes that improvisational ethos further. Initially a soundcheck riff, it blooms into a full-fledged jam with rollicking percussion and deeply syncopated melodies. There’s something loose and spiritual about it—like a celebration captured by accident. Jacco Gardner, who also produced the album, calls it one of the happiest accidents on the record, and it’s easy to hear why. It breathes.

Gardner, best known for his work in psychedelic and baroque pop, brings a cosmic sheen to Sogolo without ever drowning its earthy roots. He and percussionist Charlie Garmendia layered in ambient textures and electronic overtones during post-production, drawing on vintage German electronic influences that weirdly complement the Zambian soundscape. This blending of styles is most obvious on “Tiponde Madzi,” a track that shifts between a tribal stomp and a joyful 6/8 celebration. It’s based on a traditional story of animals searching for water—one where the humble tortoise wins the day through quiet resilience. A parable as old as time, reframed with groove and grit.

The band nods to its harder beginnings with “Nadi,” the album’s heaviest cut and an intentional throwback to the gritty, fuzz-drenched Zamrock that first put WITCH on the map. Meanwhile, tracks like “Set Free” and “Bang Bang” pull in funk, soul, and even disco elements—reminders of the band’s evolving sound throughout the late ’70s and early ’80s.

Patrick Mwondela’s standout contribution is “Totally Devoted,” a gospel-inflected reggae track inspired by Psalm 23 and deeply personal pain. Written after a serious health scare that saw him hospitalized with blood clots while touring in Chicago, the song is a heartfelt hymn of gratitude. “Even through the valley of the shadow of death, I fear no evil,” sings Mwondela with quiet defiance. It’s one of the most moving moments on Sogolo, a reminder that this band’s power isn’t just in volume or vibe—it’s in vulnerability.

The final track, “Machiriso,” wraps it all up with a sense of unity and hope, echoing the band’s mission to empower young African musicians while preserving their musical heritage. This is where WITCH stands apart from many veteran acts making a late-career comeback: they’re not interested in chasing past glories. They’re building bridges—between generations, between cultures, between sounds.

Producer Jacco Gardner puts it best: “This was a big deal. We were contributing to the legacy of a legendary band with a dense discography and history.” You can feel that weight in every groove of Sogolo, but the album never buckles under it. Instead, it lifts off—spiraling through funk, psych, and rock into something uniquely its own.

From the moment Gio Arlotta’s 2019 documentary We Intend To Cause Havoc reignited public interest in the band, WITCH have been in a period of joyous resurrection. Jagari may have left the mines behind, but the treasure he unearthed in returning to music has proven to be far more precious. “It has given me a new lease of life,” he says. And on Sogolo, you hear every second of that renewed purpose.

There’s a reason this band has gone from cult legends to global festival staples. With Sogolo, they don’t just remind us why Zamrock mattered. They show us why it still does—and why it’s evolving. This is the sound of legacy turned future, tradition turned innovation. WITCH have always intended to cause havoc. Now, they’re doing it again—but this time, with heart, wisdom, and groove.

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