Foran artist, the journey towards self-discovery rarely begins on a grand stage under bright spotlight beams. More often, it starts quietly in the background of everyday life.
Raised in a tight-knit family of five alongside her parents and two brothers, Ntandoyenkosi Ngcamphalala grew up surrounded by harmony and music. With both of her parents singing in the Sojourners Music Group, rehearsals were a constant feature of her household. Some of her earliest memories involve sitting outside the door while her parents rehearsed inside.
While the children were sent outdoors, she would linger by the entrance, completely enthralled by the vocal arrangements. Listening to powerhouses like Aunty Zine planted an early seed within her, sparking a desire to sing. “I remember a singer, Aunty Zine, who really inspired me. Watching and listening to her made me think, I want to sing too,” she recalls.
Her father introduced the family to an extensive repertoire of Gospel legends, including Jimmy Swaggart, Joyous Celebration, Ron Kenoly, The Winans, Benjamin Dube and Whitney Houston. That exposure naturally formed her musical sensibilities. “Looking back, I realise how much that shaped the kind of music I naturally gravitate towards today. I was quite an imaginative child and I was also used to being alone. We lived at the teachers’ quarters at Salem Primary School while my dad was teaching there. Most of the children around me were boys, so I often played by myself. I think that played a big role in making me comfortable with my own company. I became someone who could create an entire world in my head,” she said.
One favourite childhood pastime was playing emadlwane. She would climb atop a large septic tank structure and pretend to perform before thousands of spectators. The trees swaying in the wind became her cheering crowd and she would whistle to call up the breeze, mimicking her grandmother winnowing maize. What felt like a simple childhood game was actually an early rehearsal for the stages she would one day command.
Despite her love for music, she struggled for years to believe in her own voice. Loving music and believing one is talented are two different things and self-doubt kept her back. A major turning point arrived at the Mother of All Gospel Shows in 2023.
Her performance stunned attendees, prompting widespread questions of “Who is this?” and “Where has she been?” Some expressed shock that local Swazi talent could reach such heights. That overwhelming reception marked the first time she began to see her own potential.
“That was one of the first times I really thought, maybe there is something here that I haven’t been seeing in myself. Even now, I don’t feel like I’m there yet. I’m still learning and discovering my voice. But that experience helped me recognise that perhaps other people could see something in me that I was still struggling to see in myself,” she said.
Her foundation in ministry had begun years earlier when her father started his church around the time she entered high school. She was pushed into leading praise and worship alongside her mother and brother. Though she felt unready and burdened by expectations, the experience demanded discipline and courage. Looking back, she recognises that representing her family and church left little room to simply live for herself, yet she views those early years as vital preparation.
Leading worship taught her that music is both a privilege and a responsibility. For her, it serves as a vessel to convey emotions that spoken words cannot capture. As a Christian, she approaches her craft as a ministry designed to connect with listeners on a deeply personal level, providing comfort and encouragement when people need it most.
Despite her growing profile, she remains grounded and introspective. She describes herself as thoughtful, kind and a good listener, while openly acknowledging her stubborn streak and short temper. She admits to being her own harshest critic, often comparing her vocal performances to revered figures such as Ntokozo Mbambo and Tori Kelly. Her initial experience in a professional recording studio mirrored her early stage appearances, marked by an overwhelming urge to prove herself. Over time, she has learnt to give herself space to grow and embrace her own unique sound.
Growing up, her family instilled core values of kindness, humility and respect. Her older brother constantly reminded her never to let success alter her innate character. She notes a common misconception that Swati artists lack the depth or talent of international performers.
Admitting that she once held similar views, her journey in the music industry completely transformed her perspective. Discovering exceptionally gifted singers, writers and producers across Eswatini proved that talent was never lacking; rather, the region suffered from a lack of exposure and local support.
She now advocates strongly for Swati audiences to champion local creatives and give them room to thrive. Musically, her style remains a rich blend of gospel, traditional African rhythms and contemporary arrangements. She draws deep inspiration from artists like Jonathan McReynolds, whose song ‘Better’ serves as a personal anchor when self-doubt creeps in.
While she harbors ambitions of international collaborations, her immediate focus rests on working with respected local talent such as Zinia and Temandla. For her, collaboration is less about creating a hit and more about learning from fellow artists in the creative space.
Now, she approaches her career with a renewed sense of purpose and grace. She accepts that she is still learning, evolving and discovering the full power of her voice.
Looking ahead, she hopes to maintain her authenticity, stay grounded in her faith and honour the imaginative young girl who once sang to the trees.
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