Babes Wodumo Calls for Stronger Messages as She Warns About the Declining Quality of Gqom Music

Gqom queen Babes Wodumo has raised concerns about the direction of the genre, arguing that some of the latest releases are losing the meaningful messages that once helped define the sound. The Durban-born musician believes gqom should offer more than heavy beats and catchy rhythms. According to Babes, music should entertain listeners while also communicating something that audiences can connect with and remember. Her comments come as gqom continues to evolve, with a growing number of artists entering the genre and experimenting with different sounds. While change is a natural part of music, Babes believes artists should be careful not to lose the qualities that gave gqom its identity.

Babes Wodumo, whose real name is Bongekile Simelane, has established herself as one of the most recognisable names associated with gqom. The 32-year-old musician comes from Lamontville, south of Durban, an area closely connected to the development and popularity of the genre. She rose to prominence with the hit song Wololo, which featured her late husband, Mandla “Mampintsha” Maphumulo. The song became an important part of her rise in the music industry and appeared on her 2016 album Gqom Queen, Vol. 1. Over the years, Babes has continued to build her catalogue with songs including Mercedes, Umngan Wami and eLamont, strengthening her association with the gqom movement.

Despite the genre’s continued popularity, Babes says she is not impressed by some of the music currently being released under the gqom banner. She believes the rapid growth in the number of new artists has also brought music that does not always meet the standards she expects from the genre. In her view, some musicians appear to focus heavily on beats while paying little attention to the meaning behind their lyrics. Babes argues that gqom should not be reduced to a particular rhythm because the genre has the ability to tell stories and address issues that matter to listeners. Her criticism therefore focuses not on the growth of gqom itself, but on what she sees as a decline in the quality and substance of some releases.

Babes has also made it clear that she does not want to publicly target individual artists or songs. Instead, she has chosen to speak about what she considers a wider issue affecting the genre. She says it pains her to watch some musicians gradually change gqom into something that no longer reflects the qualities she believes made it powerful. Her comments highlight the tension that often emerges when established artists see a genre changing as new generations bring different influences and approaches. For Babes, experimentation can happen without abandoning the importance of meaningful songwriting. She wants artists to remember that a strong beat can attract attention, but a strong message can give a song lasting value.

The musician believes one of the central purposes of music is to deliver a message while entertaining fans. This philosophy has shaped the way she views her own contribution to the industry and explains why she is concerned about songs that she considers senseless. For her, songwriting should involve more than putting words together over an energetic production. Lyrics can create conversations, express experiences and give listeners something with which they can identify. Gqom has historically been associated with the energy of Durban’s townships and has developed into a recognised South African sound, making its lyrical and cultural identity important to artists such as Babes. Her comments suggest that she wants the genre’s growth to be accompanied by greater attention to creativity and substance.

Babes is also offering herself as a resource to artists who are still finding their way in the music industry. She says her experience gives her knowledge that younger musicians can use as they develop their own careers and songwriting abilities. The singer points to her history in the industry, including achieving gold and platinum success, as evidence of the experience she can share with emerging artists. She has invited musicians who need guidance to approach her for advice, despite her own demanding schedule. Her willingness to mentor others could give new gqom artists an opportunity to learn from someone who has experienced the genre’s rise from a different perspective.

Her message to emerging musicians is also a warning about the future of gqom. Babes believes artists need to speak up and seek advice before the genre loses some of the qualities that have made it distinctive. She acknowledges that she is not perfect, but says her years in music have given her valuable knowledge about songwriting, performance and the industry. Rather than simply criticising younger artists, she is encouraging them to learn from people who have already built careers within the genre. That approach could help create space for new ideas while preserving the musical identity that established gqom as an influential South African sound.

Babes Wodumo’s comments come at a time when gqom continues to attract new performers, producers and listeners. The genre has changed considerably since the period when artists such as Babes helped take its sound to a wider audience, and new musicians are naturally bringing their own ideas into the culture. However, her concerns raise an important question about how much a genre can change before audiences begin to see it as something different. For Babes, the answer lies in maintaining a balance between energetic production and meaningful songwriting. Her call for stronger messages shows that she wants the next generation of gqom artists to build on the genre’s history rather than simply use its beats without understanding its wider cultural significance.

As the Queen of Gqom, Babes Wodumo remains closely connected to the sound that helped establish her career and define an important period in South African music. Her criticism of some new releases reflects her belief that artists have a responsibility to give listeners both entertainment and substance. She has also made herself available to musicians who want guidance, showing that her concerns are linked to the future of the genre rather than simply its current state. Whether new artists follow her advice will depend on how they choose to shape gqom in the years ahead. For now, Babes’ message is clear: strong beats may make people dance, but meaningful messages can give gqom a deeper purpose and help preserve the identity of the genre.