There appears to be a rift between Maskandi artist Mthandeni and Lwah Ndlunkulu, despite the massive success of their collaboration on the song “Paris.”
“Song Of The Year”
Last year, Mthandeni “Igcokama Elisha” Manqele and Lwah Ndlunkulu, born Lwandile Mtshali, joined forces to create the chart-topping hit “Paris.”
The track quickly gained popularity, dominating radio charts and igniting dance floors. Its remarkable success became a strong contender for the “Song of the Year” honours on Ukhozi FM.
The song has now accumulated over 8 million listens on Spotify, with the Recording Industry of South Africa (RiSA) certifying it as platinum on December 7, 2023.
Paris Hitmakers No Longer Buddies
Despite the undeniable success of “Paris,” it has come to light that Mthandeni and Lwah Ndlunkulu are no longer on good terms. Big Zulu recently disclosed that Nkabi Records, to which Lwah Ndlunkulu is affiliated, did not receive any financial benefits from the hit song.
When Mthandeni approached Lwah for the collaboration, Nkabi Records failed to establish any royalty agreements, as they did not anticipate the song’s overwhelming success.
Big Zulu informed Sunday World that the relationship between Mthandeni and Lwah Ndlunkulu has deteriorated to the point where Mthandeni is reluctant to collaborate with the talented Umuzi eSandton hitmaker again.
“Sometimes, as artists, we do each other favors for the sake of brotherhood and unity. Now it seems Mthandeni is not keen to work with Lwah Ndlunkulu again because of the runaway success of the song.”
“What can we do? I am happy for Lwah Ndlunkulu anyway because her rise and success reflect the hard work we put in behind the scenes at Nkabi Records.”
During the Song of the Year celebrations for “Paris” in Mdletsheni, Hlabisa, Mthandeni hosted the event. Unfortunately, Lwah Ndlunkulu was conspicuously absent, much to the disappointment of fans.
Fans flooded her social media, questioning her absence. She responded by explaining that she was never formally invited:
“I see you are all breathing down my neck, asking why I am not at Mdletsheni. To put you out of your misery, I called Mthandeni several times, but he would not answer my calls. Instead, his phone was picked up by his dancers.”
“So, I can’t just up and go to an event to perform for mahala [for free]. Remember [that] I am signed under Nkabi Records, and there are protocols to be observed.”