Rooted in Culture: A Conversation with Tapps Bandawe
ArtsApr 11, 2026
By Mphatso Mbewe (Bandie)
ROOTS MAGAZINE AFRICAIn the heart of Malawi’s vibrant arts scene stands Tapuwa Bandawe, known as Tapps Bandawe, a veteran music producer, promoter, cultural torchbearer, and retired rapper whose influence spans over three decades. From producing chart-topping hits with the UK’s Brazzin Squad in the ‘90s to championing Malawian music on the global stage, Tapps is a force of authenticity and vision. In this exclusive interview with ROOTS Magazine Africa, he shares his journey, the soul of Malawian culture, and a blueprint for artists to thrive in a digital, globalized world.
The Pulse of Malawian Arts
When Tapps returned to Malawi from the UK in 2007, the arts industry was a shadow of what it is today. “Artists weren’t paid handsomely, and endorsement deals? Nonexistent,” he recalls. Fast-forward to 2025, and the landscape has transformed, with musicians, filmmakers, and designers finding new opportunities. Tapps has been pivotal in this evolution, now pushing Malawian music globally through Gold Mountain Music’s deal with Universal Music Group. The mission? To immortalize legends like the late Sir Lucius Banda and amplify the Malawian sound worldwide.
Yet, challenges persist. “Our biggest hurdle is mindset,” Tapps asserts. Too often, Malawian artists mimic foreign genres, Afrobeat, Amapiano, reggae, losing the “chimidzi” (village) essence that defines their identity. He points to global stars like Tanzania’s Diamond Platnumz and South Africa’s Sho Madjozi, who weave cultural roots into their music to dominate their markets. Tay Grin, Malawi’s Tourism Ambassador, exemplifies this approach, blending Malawian sounds to achieve international acclaim. Tapps urges artists across music, film, and fashion to embrace their unique vibe, creating content that captivates the world with its freshness.
For Tapps, incorporating Malawian culture is second nature. From the rhythmic pulse of mangolongondo to the storytelling of gule, Malawi’s sonic heritage is a goldmine. In 2007, he mentored Tay Grin to shift from hip-hop tracks like Ndabwera to culturally rich hits like Kumanda Kwa Bambo Wanga and 2 by 2. The result? A career-defining transformation and global recognition. Tapps laments missed opportunities, like Kelly Kay and Saint, whose culturally resonant track could have broken African barriers but was abandoned for generic Afrobeat. “We have the tools now,” he says, referencing digital production advancements that allow producers to modernize traditional sounds, as Sonyezo did years ago.
The Heartbeat of Culture
For Tapps, preserving Malawian heritage is non-negotiable. Thirty years ago, with one radio station, every art form, from music to storytelling, carried authentic Malawian DNA. Today, the internet and DStv have ushered in Western influences, diluting traditions. “We’ve stopped telling folktales,” he sighs. “Ask a 15-year-old ‘padangokhala,’ and few will answer ‘tilitonse.’ That’s how far we’ve drifted.” His antidote? Art that roots itself in the “chimidzi,” like the Malawian films that captivate global audiences with stories of prison life, corruption, and family dynamics, films dubbed “ma filimu a kendal amapangidwa mwa chimidzi” for their raw authenticity.
Tapps’ own work is a testament to this ethos. In 2008, he and Tay Grin performed 2 by 2 at the BBC, leaving audiences spellbound with its Malawian flair. Lines like “Ground shaking, hearts are beating, Fumbi mbwee koma oh” painted a vivid picture of Malawi, sparking a UK tour and a Channel O Award. Every Tapps production pulses with Malawian elements, a deliberate choice to stand out in a homogenized world. He warns of cultural erosion, “hour by hour, second by second”, and offers a stark truth: “The only way we win is to follow our culture, and the only way we lose is by embracing others.”
Digital Dreams and Social Media Realities
In the digital age, social media is a game-changer, and Tapps sees its untapped potential for Malawian artists. “The energy to reach someone in Malawi is the same as reaching someone in China,” he explains. Platforms like TikTok have propelled tracks like Chalamanda and Namadingo’s Linny Hoo to viral fame for their authentic Malawian sound. Yet, he critiques the local mindset: “We target our 12 million social media users instead of the 5 billion globally.” International DJs in Venezuela or Australia crave unique sounds, but Malawian artists often deliver derivative music that fails to intrigue.
Social media’s darker side also troubles Tapps. In Malawi, platforms often amplify negativity,mocking celebrities or spreading “kung’alulidwa” (gossip), rather than celebrating positivity. He envisions a shift where artists engage global fanbases, collaborating with Tanzanian or South African stars to exchange markets while staying true to Malawian roots. Tay Grin’s cross-border collabs exemplify this strategy. Social media has also redefined artist-fan dynamics, making stars accessible but stripping away the mystique of icons like Michael Jackson. “Fans see your flaws now,” Tapps notes, a double-edged sword in today’s connected world.
In the digital age, social media is a game-changer, and Tapps sees its untapped potential for Malawian artists. “The energy to reach someone in Malawi is the same as reaching someone in China,” he explains. Platforms like TikTok have propelled tracks like Chalamanda and Namadingo’s Linny Hoo to viral fame for their authentic Malawian sound. Yet, he critiques the local mindset: “We target our 12 million social media users instead of the 5 billion globally.” International DJs in Venezuela or Australia crave unique sounds, but Malawian artists often deliver derivative music that fails to intrigue.
Social media’s darker side also troubles Tapps. In Malawi, platforms often amplify negativity,mocking celebrities or spreading “kung’alulidwa” (gossip), rather than celebrating positivity. He envisions a shift where artists engage global fanbases, collaborating with Tanzanian or South African stars to exchange markets while staying true to Malawian roots. Tay Grin’s cross-border collabs exemplify this strategy. Social media has also redefined artist-fan dynamics, making stars accessible but stripping away the mystique of icons like Michael Jackson. “Fans see your flaws now,” Tapps notes, a double-edged sword in today’s connected world.
Tourism: The Cultural Catalyst
For Tapps, arts are the soul of tourism. “Jamaica isn’t known for its rivers or valleys but for Bob Marley,” he says. Malawi, the “Warm Heart of Africa,” must showcase its warmth through music, drama, and film to draw visitors. His Tiziyamba Ndife Amalawi campaign with the Ministry of Tourism, featuring Minister Verah Kamtukule, urged Malawians to embrace local attractions, sparking domestic pride. Cultural tourism, he believes, could transform Malawi’s economy, with events like Mlakho wa Alhomwe attracting global crowds if free from cultural exclusivity, boosting foreign exchange and jobs.
Navigating the Digital Frontier
Monetizing music in Malawi’s digital landscape is, in Tapps’ words, “a sin.” The lack of monetized platforms like TikTok, YouTube, and Facebook frustrates creatives, with government inaction stalling progress. “Artists could be rich by now, and our GDP stronger,” he laments. Piracy and copyright infringement compound the issue, with companies using music without compensation, dismissing artists as “friends.” COSOMA’s focus on outdated physical piracy (CDs, tapes) ignores modern digital challenges, leaving artists vulnerable.
Tapps is fighting back. Through Universal Africa and Gold Mountain Music, he’s registered Sir Lucius Banda’s 21 albums, enforcing clearances to remove unauthorized uploads or demand compensation. Plans to remake Lucius’ tracks with international artists aim to cement his legacy, akin to Bob Marley’s global stature. He advises artists to register with COSOMA and partner with reputable distributors to secure fair pay, a model he’s implementing with Tay Grin, Phyzix, and others.
Resilience Through Crisis
The COVID-19 pandemic tested the industry, but Tapps thrived. “I did more work than ever,” he says, producing from his studio and collaborating with UK and local artists via phone. The lockdown birthed his Universal Music Group project, while performing artists struggled without live shows. The pandemic’s lasting impact? A creative surge. “Artists weren’t clubbing, they were creating,” Tapps notes, with musicians and fashion designers honing their craft, pushing Malawi’s artistic bar higher.
A Vision for Malawi’s Future
To elevate Malawi’s arts, Tapps calls for capital injection and government seriousness, pointing to South Africa and Nigeria’s success after early investments. “We’re fighting battles they won long ago,” he says. The government must fund programs, reform policies, and enable digital monetization, while private stakeholders should offer sponsorships. Tapps sees himself as a mentor, passing his three-decade expertise, rooted in his Brazzin Squad days, to a new generation, advocating for authentic Malawian art on global stages.
Cultural exchange programs, he believes, are vital, exposing artists to new markets and techniques while promoting Malawi abroad. More such initiatives are needed to bridge local talent with the world. For tourism, artists must create content that showcases Malawi’s heritage, collaborating with tourism boards on festivals or videos, as seen in Tiziyamba Ndife Amalawi , Mayo Mayo featuring sangie, taygrin and tsar Leo. Social media influencers, Tapps adds, can amplify Malawi’s beauty, drawing global visitors with authentic storytelling.
The Chimidzi Call
Tapps Bandawe’s message is a rallying cry: root your art in Malawi’s soul, wield digital tools with global ambition, and paint the “Warm Heart of Africa” for the world. As he mentors artists, partners with Universal, and champions campaigns like Tiziyamba Ndife Amalawi, Tapps is not just preserving culture, he’s igniting a movement. In his words, “Music is powerful.” And with the chimidzi beating strong, Malawi’s artists are poised to conquer the world, one authentic rhythm at a time.
“The only way we win is to follow our culture, and the only way we lose is by embracing other cultures.”