Forget everything you thought you knew about classical music. A new generation of South African musicians is rising, and their sound is unlike anything you’ve heard before. One such artist is Remz, whose unique blend of traditional rhythms, contemporary influences, and raw technical skill is taking the music scene by storm. Here’s a conversation with Remz.
What initially drew you to the violin, and how did you begin your musical journey in South Africa?
When I chose this instrument, I didn’t know what it was. What happened was that I wanted to learn how to play the piano. However, at the place where I learned, they informed me that they didn’t teach piano. Instead, they showed me how to play the violin. I chose it because I just wanted to do music. I’m very passionate about music, so I just chose it without knowing what it is. I tell people that the instrument chose me.
As a South African violinist, have you encountered any unique challenges or opportunities throughout your career?
I think one of the challenges I faced on a performance level is that you have to keep tuning your ear to hear different keys without looking at the music sheet. It means continually sharpening your ear and learning to improvise on the spot without knowing a song. That’s one of the challenges I’ve experienced, along with engaging the crowd in your performance. It’s one thing to serenade a crowd, but getting them to stand on their feet and start dancing is another trick. So, that’s also a challenge I’ve encountered in my career.
And how have you worked around these challenges, especially in getting the crowd on its feet?
You start learning how to read people without actually getting to know them. You read people, read the energy in the room, and gauge the kind of music that people are most receptive to. If, for example, I play a song that 90% of the crowd knows, then chances are they’ll stand up and start dancing.
Do you specialize in any particular genre of music, or do you enjoy playing a variety of styles?
I play a variety because it allows me to interact with different crowds, different races, and different ages. It also enables me to grow as a musician. I don’t want to limit and box myself into one specific genre. I always try to learn other genres so that I can grow and evolve as a musician.
Have you had the opportunity to collaborate with other South African musicians or ensembles? If so, how has that experience been?
I recently worked with Kelvin Momo on his album released in January called Kurhula. I am on two songs, namely Tears of A Black Man and Violin Sounds. The experience was very nice. When I went there, I was extremely scared and nervous about working with such a big artist. But he found a way to make me comfortable and relaxed. We spent about 2 or 3 hours just chilling and talking before we started working. So yeah, I think it was a very nice experience.
In your experience, how has the classical music scene in South Africa evolved over the years, and do you believe there are opportunities for young, aspiring violinists in South Africa today? What advice would you give them?
It’s still very limited. If I’m being honest, there are only very few individuals who don’t belong to a specific orchestra. The majority of violinists are classical-based. When you are in the classical space, everything is very technical. My hope is that classical music can loosen up a bit and allow people to explore their creativity while still implementing the techniques learned within the classical space. Playing classical music requires maintaining posture, skill, and sound. I would like them to broaden their horizons and be open to trying different things.
What are some of your biggest musical influences, both inside and outside of South Africa?
I look up to a lady named Ezinma and another violinist named Dominique. These are violinists that I look up to because they started as classical musicians and then branched off into other genres. They played a significant role in my starting, as I initially imitated them. What they’re doing is really cool. I thought it was impressive to see a violinist playing an R&B song or a hip-hop song. It’s very taboo because it’s a violin, and people expect fine dining and classical music.
If you could offer one piece of advice to your younger self, what would it be?
Be patient with yourself. That’s one thing that I struggle a lot with. I have a tendency to be impatient, and the violin will teach you to have patience whether you like it or not. If you can’t play something, you have to start off really slow before increasing the pace, as playing the violin is mainly based on muscle memory. I would advise myself to be patient and allow myself to know that I will get there.
What’s been your most memorable performance as a violinist, and why?
When I was a soloist for Sun El Musician. I think that, for me, has to be my top everything. Sun El Musician is my favorite artist in the entire world. So, when he hit me up and asked me to be his leading soloist for his concert in 2022, that was incredible. I don’t even know how to describe it, but it was one of the best things that has ever happened to me. Imagine someone that you look up to just calling you one day. Like that. Like it’s nothing, you know? For me, that was very big.
Imagine you’re playing a violin solo on top of Table Mountain at sunset. What piece would you choose, and how would you describe the feeling of performing in such a breathtaking location?
I think the one song that really stands out for me has to be Hans Zimmer’s “Time.” I feel like it’s a very spiritual song that touches me in a way that I cannot explain. Every time I listen to or play the song, I zone out. I think about everything that I’ve done, everything that I’ve accomplished, and everything I’m yet to accomplish. It’s a very beautiful and breathtaking song that allows you to think about the good parts of life.
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