A new Dawn begins

By Mrs M

How rude of us to forget that Nothando Hlophe is a born performer and a mad vocalist who, sets every room on fire with her anointed voice. 

Everything that happened on Saturday at Mavuso was a lasting reminder that Nothando has always been THAT girl. This was a full circle moment for her, making a comeback.

The gates to Mavuso Exhibition Centre opened just after 3 p.m. and already a quiet expectation had settled in the air.

People walked in pairs, families came draped in shades of reverence blues, whites, deep reds and mostly black.

There were mothers with children, youth choirs in matching church t-shirts, women with head wraps and anticipation lingering all over the room. 

Some were softly humming ‘Baba siyabonga, yebo’ Hlophe's debut anthem which honestly set the tone for her entire career and life.

 In that song she literally manifested the life she currently lives. A life grounded in Christ, worship, family, love and wealth.

So as people walked in they hummed this song, some were sipping on strongly brewed coffee, others clutched tickets like keepsakes. 

Ushers in all-black and some white smiled and pointed the way. The lighting rigs were already alive above the stage, hinting at what would become one of the most glorious live Gospel recordings we have witnessed in Eswatini in years.

Melancholy music played in the background, hints and different tones of red which were in line with the headlining sponsor Eswatini Mobile’s theme color, beamed all over the sold out venue.

The stage stretched wide like a an award night stage. The walls were draped in flowing red fabric, with golden flourishes at the corners, the production spared nothing. 

Long beams of light danced across the space, weaving through fog like incense. It felt less like a show and more like a tabernacle set under electric stars.

The chilly night had already settled in when the music swelled. The band began warming up soft pads from the keyboard, the guitarist adjusting his pedal, the choir aligning harmonies behind the curtain. 

We were still seated when Apostle Nhlanhla Hlatshwayo took to the stage in a harmonious song. He opened the night with an intentional word of prayer. 

He called for rapid action towards the killing and kidnapping of children in the country. In between songs, the Reverend also congratulated Nothando for a sold out show and spoke life over the live recording. 

A minute later, like a scene borrowed from South African music show, Idols Nothando Hlophe emerged in a red dress that shimmered like fresh anointing oil under light. 

The tassel red dress paired with simple strappy  heels was the debut outfit for the night. She was accompanied by over 3 back up singers some from Spirit of Praise.

This wasn’t just a performance. It was arrival. A return. This was her first major public musical work since her marriage, and everything about her posture on stage said she came with purpose, not just praise.

The moment she opened with ‘Yala Ngempilo Yami,’ the room responded. Hands lifted. Mouths opened. People forgot to record they just stood in it. 

The lights were timed so precisely, they flared and dimmed as if heaven itself was breathing in rhythm with the music.

A total of twelve songs were recorded each wrapped in testimony, carefully arranged to move the audience from remembrance to revival. 

One song, ‘Ludvumo’ recorded with jubilation, felt like a national anthem of faith. It didn’t just call us to worship; it called us to stand, to rise.

Back-up singers stood in perfect alignment clad in subtle pastels, heads held high. Their voices were trained, sharp, and soulful. 

The keyboardists’ hands floated like doves over the keys. Every note was intentional. Every moment was prepared.

There was a moment of reflection and true worship when Faith Khanyile from Glory of the Last Days came on stage, clad in a dusty pink silk dress Khanyile quickly moved the crowd with her nostalgic voice.

There was a 60 seconds pose of admiration from Nothando, she just stood and took everything in. 

Meanwhile, dressed in all white,Eswatini golden boy and and award winning singer Sands came in quietly, like a man who didn’t need to announce himself.

 His aura and energy filled the room faster than we could say ‘Tigi’ 

He stood as if proclaiming a new lease on life, and when he sang, his voice cracked open something in the room. It wasn’t loud, but it was weighty. His presence was soaked in grace.

They performed together, and it was as if the air shifted. There were no gimmicks. Just voices, honesty and faith.

 The night went in with more insightful musicians taking turns with Nothando.

These included the vocally gifted Ayanda Ntanzi, Xolly Mncwango, Musa Sikhosana and Linda Ndaba among others, it really was a night of worship dance and reflection in the presence of the Lord. 

The production team deserves its own standing ovation. It wasn’t just lights, sound but it was scripture in movement.

At certain moments, a single spotlight would catch Nothando in full worship, her hands raised, her face to the heavens. 

Other times, the stage would glow gold, like glory itself had taken up residence. The way the light framed her in 'Ngisothandweni'as she cried out for God’s mercy and grace over her family, was unforgettable.

She wasn’t performing. She was praying in front of thousands. And we all prayed with her. In many ways, ‘New Dawn’ was not just an album title. 

It was a declaration. It was about what happens after stillness, after the world forgets you, after you've been silent long enough for people to wonder if you’ll return.

This wasn't just about Nothando Hlophe. It was about every person who’s ever felt buried by life but still believed in resurrection. It was renewal made visible and audible.

By the time she got to her seventh song, everyone had become one choir. A man two rows behind shouted, “Sing, Nothando! Sing, girl!” and she did. People wept, others stood frozen in awe, some danced.

As the final song wound down no announcement, no countdown just the soft hum of harmonies and the pulse of the bass fading, Nothando stood still in the centre of the stage. 

Her chest rose and fell. The dress shimmered again. She looked out at the crowd, then up. She didn’t say thank you she whispered, “To God be the glory.”

And then she left the stage the same way she entered gracefully, without showmanship. It was never about her. That’s what made it so powerful.

People didn’t rush to leave. Some sat in silence. Others formed prayer circles near the exit. Some couples held hands. 

Women hugged strangers. It was that kind of night where worship wasn’t limited to the stage. It spilled into the parking lot, into cars, into group chats.

A woman next to me said, “I came because I missed her voice. But I’m leaving because God spoke.” And that sums it up.

Over twelve songs. A sold-out venue. A woman in red reminding us what it means to return. To rise. To begin again.

Nothando Hlophe didn’t just give us an album. She gave us a reminder. That even in stillness, God is composing. That silence is not the end. That a new dawn doesn’t whisper it sings.

*** Some pictures sourced online.