More than half a century after helping pioneer Zambia’s legendary Zamrock sound, WITCH is causing musical havoc across the United States with a 32-date tour that is introducing a new generation of American audiences to one of Africa’s most distinctive musical movements.
The tour, which began on August 15 in Colorado, marks another remarkable chapter in the history of the Zambian band whose music combined rock, psychedelia, funk and traditional Zambian influences to create a sound that became synonymous with the golden era of Zambian popular music.
At the centre of the revival is WITCH frontman Jagari Chanda, one of the few surviving original figures of the Zamrock era who continues to perform and promote the genre internationally.
Before departing for the United States, Chanda and WITCH lead guitarist Jones Kabanga visited the US Embassy, where they met Chargé d’Affaires Mich Coker. The musicians presented him with copies of two of the band’s iconic albums, Lazy Bones and Zango.
The current WITCH is, however, more than a nostalgic return to the past. Chanda has brought in a new generation of musicians, including Kabanga, while the international line-up includes European musicians. The result is a contemporary WITCH that retains the spirit of the original band while giving its music renewed energy.
The American tour follows growing international interest in Zamrock, particularly in Europe and North America, where recordings by pioneering Zambian musicians have found enthusiastic new audiences.
Ironically, the music appears to be enjoying greater recognition abroad than at home.
Many young Zambians have little knowledge of the musical revolution created by bands such as WITCH during the years following independence. Yet music recorded more than 50 years ago continues to resonate with audiences thousands of kilometres from Zambia.
Zamrock emerged during a period when Zambia was developing its post-independence cultural identity. Musicians absorbed international influences from rock, soul and funk but blended them with local rhythms, languages and experiences, producing a sound that was unmistakably Zambian.
The revival of WITCH is therefore also a reminder of the importance of preserving Zambia’s cultural heritage.
Schools, broadcasters, music promoters and cultural institutions should expose young people to Zamrock, while old recordings should be preserved and digitised and surviving pioneers properly documented and honoured.
For those of us with a personal connection to that era, the revival is particularly meaningful. I once shared the stage with Jagari Chanda and performed my composition Sansakuwa alongside him.
WITCH’s American tour is consequently more than a series of concerts. It is a celebration of Zambia’s musical heritage and proof that Zamrock still has the power to cross generations and continents.
While Zambia may have allowed the music to slip from the centre of its cultural conversation, the world is listening again.
And WITCH is still turning up the volume.
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Jones Kabanga (left) and Jagari Chanda pose for a photo with the Chargé d’Affaires Mich Coker (middle)