WITCH’s resurrection story is one of the most unlikely in music. As pioneers of Zambia’s zamrock genre in the 1970s, their incredible blend of African rhythms and psychedelic fuzz guitar was nearly lost to time and remained practically unknown outside the continent. Thanks to the efforts of a few tireless boutique labels in the early 2000s, zamrock reached new audiences many decades and miles from where it was birthed. This renewed interest led to WITCH frontman Emanuel “Jagari” Chanda reforming the band and play in the US in 2013. Far from a one-off affair, Jagari teamed up with veteran keyboardist/composer Patrick Mwondela, and a fresh-faced, multinational group of musicians to spread the good word of love and unity—in the funkiest way possible.
The group’s appearance at Bristol’s The Jam Jar this past Sunday served two purposes: to promote their recently released Sogolo album and to warm up for their first-ever Glastonbury Festival performance, some 44km away. After an hour-long DJ set packed with zamrock and Afrobeat bangers, WITCH took the stage. With the UK’s heatwave bringing bank holiday vibes, the crowd was well-lubricated and ready to boogie. Luckily, the band was in muscular form.
After recent tours and albums backed by some fantastic singers, it was a shock to see the band stripped down to just vox, keys, guitar, bass, and drums. The pared-back setup meant some of the newer material lost a bit of the melodic texture found on the records. But it also gave WITCH room to lean back into their original rock sound, and rock they did. With a fellow Zambian brother, “Sir” Jones Kabanga, now on guitar duties, the material sounded heavier than ever. He quickly established himself as the set’s MVP, filling out the mix with ferocious licks and fluid scales.
Alternating between Hendrix-like flourishes and Sabbath-worthy stomps, the band breathed new life into their older material. “Introduction,” “Lazy Bones,” and “Strange Dream”—tracks now over half a century old—had the near-capacity crowd bouncing. Jagari, a sprightly 72, seemed more energetic than when I last saw them play in 2023. Coming up in an era that demanded both dance moves and showmanship, he has the power to work up a crowd, which is often missing from younger acts. Pure old-school charm.
At one point, Jagari dragged a bemused-looking metalhead onstage to join in on the cowbell. It was a sight you wouldn’t expect at an African rock show. True to form, he also brought a plate of fruit onstage, sharing the odd bit with the audience with a smile. They’re the only band I have seen do such a thing. And really, why not? Vitamin C is important.
Toward the back end of the set, Sogolo’s lead single “Queenless King” got its moment, followed by “Evil Woman” and, arguably, their most infectious track in their catalogue, “Like A Chicken.” It’s not every day you see a mixed-aged crowd dancing up and down, singing about being a chicken. But as finales go, it sums up the WITCH spirit perfectly. Carefree, funky, and a little bit naughty; long may their second reign continue.
Photo credit: Rhys Dolman
Byline: Sam Walker-Smart