Once described by GQ as the ‘undisputed king of futuristic funk,’ an EP inspired by Western plains, bluegrass and horses was not on any of Moonga K.’s fan’s bingo cards. And yet, today he debuts ‘Outlaw’, an EP which breaks beyond the singer-songwriter’s already fast-evolving career. Layered with meaning, and communicated visually through the lens of photographer Neo Baepi, this is not simply a collection of songs; it’s a peek into the diary of a modern queer cowboy, singing bravely about who he knows himself to be.

Moonga K (Kapambwe) was born in Zambia and raised in South Africa. A frequent pen-master for a range of artists and genres, and a fervent student of music, arts and politics, Moonga’s ‘Outlaw’ is the culmination of many influences – sonic, stylistic and societal. When we meet up, he is equal parts confident and cautious, cradling the project carefully as he opens up about the world of ‘Outlaw’.

So, we start at the beginning. How does an artist described as a ‘Black radical sociologist’ and associated with edgy synthy sounds come to make a country record? “It actually started over a year ago. I was writing country music for other artists both in South Africa and the US. I’ve always listened to it, and I found the writing process unexpectedly fun. There’s something fascinating about the structure and storytelling in country. It pulls from a deeply emotional place,” he explains.

This is no secret to contemporary music listeners. The heart and heritage of country music has always been up for discussion, and particularly so with the release of Beyonce’s ‘Cowboy Carter’ LP, which brought Black artists back into the centre of this musical story. But for Moonga, ever the musical student, the history of Black boy cowboys wasn’t just a moment to seek representation. He sees something he can mirror – and make music out of – in the rebellious nature of these ancient outlaws. And for a queer artist, (in)famously outspoken about issues relating to music, musicians, the music industry and other “shhh” topics, history acted like something of a door into this moody, delicious body of music.

“I linked up with Hanna V, my producer, and we just started creating with no expectations. It was that kind of ‘let’s see what happens’ energy. In the first 45 minutes, we already had a chorus and some music down. It felt spiritual. Something clicked,” he explains. “I’m a queer Black man. I identify as cis, but I’m fluid about gender in many ways. This project lets me bring the image of the Black cowboy into a space where I can tell my own story. It’s about reimagining this icon through my lens and speaking to both history and present-day realities in one piece of art.”

The EP has an immediate effect on the listener. This is certainly not the kind of music you have on in the background or listen to once for full effect. It’s deep, it’s got dimension and it leans into the classic yearning that makes genres like soul and R&B and country so special. I’ve listened to the EP over 10 times by now, and I stop and absorb different pieces of it each time. It’s hard to have a favourite, but I had to ask about ‘Still My Heart’, an incredibly personal and autobiographical record. For Moonga, even this track was far more open than anything he’d shared before.

“I mean,” he sighs deeply for a moment, “Look it’s the first time I’ve ever used pronouns in a song. That might seem small, but in the world of country music, it’s a huge statement. That song is explicitly about a Black cowboy loving another Black cowboy. It’s gentle, it’s romantic, it’s political just by existing,” he says. “I’m not just making music for the sake of it. Even when it sounds light, there’s always a layer underneath. I’ve realised over time – sometimes in hindsight –that I’m manifesting conversations through my music. And yes, that can be scary, especially when you grow up in a family or culture where that kind of honesty isn’t supported. But I’m not hung up on it anymore.”

From the boldness of the project, and the bravery of owning every bit of his story, I believe it. He’s come a long way from his early records and the lessons of turning passion into a produced work of art. When I ask how ‘Outlaw’ compares, he shares: “I’m gonna be real. My last release was incredibly stressful. I was proud of it, but it took everything out of me. ‘Outlaw’ has emerged from that space of reflection. It reminded me how powerful I am – how much I still have to say. Now, I know I’m in this for the long haul.”

And considering he has six previous releases, including the critically acclaimed and awarded ‘Wild Solace’ in 2018, this new momentum sees the artist set to make many more works, constantly evolving his offering and tapping into new sounds and stories. One of these latest standout tracks ‘Hold On’ was written and produced in one session, with input from musical legends like Freshlyground’s Zolani Mahola and other heavyweights lending their ears and voices to the track. Part of the magic of ‘Outlaw’ is that it shows off Moonga’s prowess as a singer songwriter but also something of a maestro, pulling together a range of influences and talents to paint this Wild West (in the South) tapestry.

With this said, and with its “every listen is personal” quality, I close off by asking what he thinks the lesson of ‘Outlaw’ is – and ever the writer – the answer is one to jot in the journal. “That it’s okay to build the spaces we want, instead of waiting for someone else to do it. That joy isn’t something we have to postpone. And that there’s power in telling your story fully, even if it scares you. Especially if it scares you.”