AMARAFLEUR

How did you arrive at the name Amarafleur from Athandiwe? Has it always been synonymous with you?

Interestingly, the name exists in more languages than I realized. For instance, in Igbo, it means “grace.” I derived it from Sanskrit, where Amara means eternal. I found the name fascinating and considered using it for making music. Around 2012, when I was thinking about my social media presence, I decided I didn’t want to use my real name because it felt boring. So, I combined the two names and made it my Twitter handle. Since then, I’ve used it consistently.

How has that influenced your personal growth and helped shape you into the artist you are today?

It’s been really interesting because one thing that happens when you’re moving around a lot is that you learn to adapt quickly to change. You have to be open to both change and differences. For me, this adaptability has prevented me from feeling stagnant, which is why I approach music with a strong curiosity to try different things. My songs often don’t fit neatly into a single genre like R&B. Instead, they feature a bit of divergence, reflecting my varied approach to making music. 

This constant movement has taught me to approach music creation with an open mind. It has made me very curious about different sounds and the numerous ways to make music. Over time, even though I may not always realize it, I am constantly learning. I consider myself a student of other artists. I frequently attend shows and jam sessions, regardless of whether the performers are musicians or teachers. 

Curiosity has played a huge role in my life. When you live in different countries, you naturally become interested in the lives of others. You can’t move somewhere new without wanting to understand how other people live. This openness significantly influences my music and helps me imagine who I would like to collaborate with. It also aids in building my network and navigating the job scene. 

Curiosity is central to how I manage to thrive as a relatively new member of the industry. It all stems from being a fan first and foremost.

“…I am constantly learning. I consider myself a student of other artists.”

Is your creative process different in the work that you do as a solo artist versus when you work with other artists?

If I’m collaborating with another artist, I generally like to approach it with an openness to different styles of music, while still staying true to how I would write a song. Sometimes the artist might be trying something completely different themselves, so understanding their approach to making songs generally, helps you sync with them as they try something new. As a solo artist, I’m usually just left to work at a pace I personally desire, which could take weeks, a day, or months. But when I’ve collaborated with people, we’re working on different time, so I’m encouraged to modify my creative process to fit a collective, rather than a solo approach. 

What do you hope people will take away when your work is being studied? What insights or understandings do you wish for someone to gain from this particular process?

It can be challenging to avoid feeling unappreciated in the music business, where anonymity is often required to maintain the status of the platforms we work for.

Despite the frustrations, I’ve always believed that if I’m not there to support the alternative team, then who will be? There’s a greater cause at play, and those who understand will recognize this. Reflecting on this question makes me emotional because creating music has helped me understand and center myself. Whether it’s my own songs or my corporate work, I hope people who study my work understand the core reason behind it. Our art exists because of our experiences, and we’ve made resources available for artists who once had to rely on major labels. Now, artists can thrive independently and have labels come to them.

Consider your reasons and motivations based on the examples around you. One common question I get is how to break into the music business. Often, it happens by chance and through networking. My first job came from a suggestion by someone I knew. Despite feeling unqualified, I realized that experience is the best teacher. Networking and building a music community are crucial. Approach the industry with an open mind, ready to learn and be curious. Don’t aim to change the world immediately, as that can lead to heartbreak. Instead, focus on expanding your knowledge and resources, whether through music or the corporate side of the industry.

Remember, opportunities that were inaccessible a few years ago are now within reach.

“[In a creative process] there are two main aspects to consider: first, avoid repeating the same questions, and second, seek out individuals who continually innovate and contribute effectively.”

What are you currently listening to now?

I’m currently enjoying Jordan Rakei—I’m absolutely obsessed. I’m always discovering and listening to new music, although I also find comfort in revisiting older albums too.

Taylor McFerrin’s “Early Riser” has been a huge inspiration since around 2013 when I started taking music seriously. It’s an album that really changed my life sonically, and for that reason I go back to it often. To me, his album is like the soft toy you hold when you’re feeling nervous, like a moment in time when everything can be still. 

What are some of your dream collaborations? 

Right off the bat, one of my dream collaborations would be with BADBADNOTGOOD. I’d disappear if I did anything with them! Locally, working with Thandi Ntuli in any capacity would be incredible; even if I’m literally just playing the triangle on a song. Amongst producers, though I’ve already worked with him a few times, I’d continue to say Buli. He’s got a really incredible vision and it’s so easy to expand on what he creates with other artistic elements.