The Stage 32 Videos: Mma

"Isikere" symbolizes the tools one needs to navigate a hostile world. Lolo Vandal crafts a soundscape that's both aggressive and introspective, channeling the energy of township life into a lyrical blade. The track pulses with kwaito-infused trap, layered over a minimalist beat that lets his voice cut through with precision.

This video features Lolo Vandal delivering a powerful verse from the SAHHA Cypher on SABC 1's Mzansi Fo Sho, showcasing raw lyrical talent and cultural pride. In this electrifying clip, Lolo Vandal takes center stage as part of the South African Hip Hop Awards (SAHHA) Cypher, broadcast on SABC 1's Mzansi Fo Sho, a platform known for spotlighting local talent and urban culture.

The title Kwashuba, loosely translated from isiXhosa as "things went wrong" or "it got tough," immediately sets a tone of emotional gravity and introspection. It signals a narrative that is not only personal in its vulnerability but also socially reflective in its scope.

The title Isifungo, meaning "a vow" or "an oath" in isiXhosa, establishes a profound thematic framework that is both deeply personal and communally resonant. In this work, Lolo Vandal approaches the concept of a vow with cultural sensitivity and emotional depth, portraying it not merely as a spoken promise, but as a sacred covenant; binding the individual to ancestral expectations, communal values, and personal truth.

"Yiyeke" by Lolo Vandal is a visually expressive and culturally vibrant music video that celebrates township life with poetic flair and cinematic intentionality. The cinematography plays a central role in elevating the song's message, transforming everyday scenes into moments of artistic resonance.

This short film segment showcases Lolo Vandal in character as Uncle Bawawa; a humorous, exaggerated figure whose drunken antics serve as both entertainment and subtle social commentary. Uncle BAWAWA The Drunken Master is not just a comedic sketch; it's a cinematic vignette that uses visual language to elevate character-driven storytelling.

Lolo Vandal navigates the theme of Korobela with remarkable sensitivity and cultural awareness, choosing a path of thoughtful inquiry rather than moral absolutism. He neither vilifies nor romanticises the practice; instead, he opens a space for introspection; encouraging listeners to consider the emotional complexities and ethical implications of influencing love through spiritual means.

The title Akhonto, which translates to "Nothing" in isiXhosa, is deceptively minimal. Rather than signaling emptiness, it invites a deeper meditation on what truly matters. Lolo Vandal uses this piece to challenge materialism, ego, and superficiality, offering a poetic reminder that value is not always visible, and that silence, humility, and spiritual clarity often carry more weight than noise and spectacle.

The title Hlala Nam, meaning "Stay with Me" in isiXhosa, sets the emotional tone for a song that is both a plea and a prayer. Lolo Vandal and Celtic deliver a performance that is deeply rooted in African musical tradition, yet universally relatable in its message.

"Unomonde" by Lolo Vandal is a poignant and culturally grounded music video that raises awareness about Gender-Based Violence (GBV), honouring the emotional resilience of survivors while advocating for empathy, accountability, and healing. The title Unomonde, meaning "the one who has patience," becomes a powerful metaphor for the silent endurance many women face in abusive environments.

The title Camagu; an isiXhosa expression meaning "so be it" or "let it be acknowledged"; is often used in traditional rituals to affirm spiritual truths and seal prayers. In this context, Lolo Vandal invokes the phrase not as a mere utterance, but as a guiding principle.

In African traditions, dance is a language of the soul, a ritual of remembrance, and a communal act of healing. This song taps into that lineage, offering a rhythmic space where identity and freedom converge. While the tone is celebratory, there's an undercurrent of resistance; an insistence that joy itself can be a revolutionary act in a world that often seeks to suppress Black expression.