Piwai blends traditional rhythms from her native Zimbabwe with contemporary soul, jazz, and R&B to craft a sound unique here in the Bay. As a gwenyambira—a skilled mbira player with a deep cultural connection to the music—Piwai has collaborated with many artists in the Bay and beyond, including Grammy award-winning Oaklander Fantastic Negrito.
Ahead of Piwai’s set on Saturday, May 3rd at the Golden Gate Park Bandshell as part of a free show put on by Bay Beats, the San Francisco Public Library, and White Crate – along with Mae Powell and The Grease Traps – we heard from the artist about the surprising thing that brought her to the Bay, how the Bay influences her music, and some upcoming releases.
What was your first connection with making music?
Storytelling time at home in Harare and in the village in Wedza, in Zimbabwe. African folklore as was passed on to me and siblings and cousins by my aunts was always accompanied by music… singing, clapping, drumming and dancing.
Where did you grow up? If you moved here, when and why did you move to the Bay?
I grew up in Zimbabwe, Harare and other cities where my parents constantly moved to or some aunt of uncle’s house for “grooming” as per my culture. I came to the Bay Area for the first time in 2006, for a Synthetic Biology conference at the Lawrence Berkeley National Laboratory! Bet you didn’t expect that! I was presenting a paper on my biosensor remediation biobricks.
Did the Bay Area art and music scene have anything to do with your move?
Not at first, I moved here for scientific opportunities, which I am very much embedded in, specifically Biotechnology. My musical endeavors at the time were focused in Texas and New York. In both states, I collaborated with a wide array of artists and musicians, both touring and recording. I had a lot going on touring with Soukous Stars (Congo), Eman Legrand (Congo), Fafi (Zimbabwe), Manou Debango (Cameroon), recording with Aramand Assirifix/Mano Black (Ivory Coast) and Maty Dollar (Ivory Coast), and was heavy in the reggae and soca music scene in Texas, so I wasn’t expecting to be wowed artistically by the Bay, but it happened.
How does the Bay Area influence your music?
It allowed me to find myself, my voice, sound. I didn’t have to explain my African sound. I went to the Jazz School of Berkeley to really figure out my inner voice and how to shape my sound.
What do you love about the Bay Area music community?
Lots of creatives and very diverse. It’s not so difficult to find people who can quickly work with my sound and style.
Is there something missing or anything you’d like to see change?
Support for the artists, financially, to gigging. And good local booking agents that actually activate spaces for musicians and would like to see the Gent, Belgium model for supporting local music, right here in the Bay! More on that later…
Are there any artist-centered communities in the Bay that you love?
I have been a part of BlackBall Universe, now Storefront Records, founded by three-time Grammy award-winner Fantastic Negrito… A very local /grassroots supporting entity for both artists and small businesses.
Do you have any new releases coming up?
Matter of fact, yes! In the next few weeks, I will be dropping my remastered and video of my song Malaika, from my African Turquoise Vol. I album, then I will be collaboratively dropping a project called Acoustic Soul Stories: A Series of African Portraits, a project I did with Nasamabu from Kenya.
Which up-and-coming Bay Area artists are you most excited about?
Nia the Gais, she is an Afro-Brazilian gem.
Do you have any hopes or predictions for the local music scene?
Hmmmmm… unless the economic situation changes, I am no fortune teller. It’s hard enough being an artist in the Bay, but we prevail… I have got ideas…
See Piwai, Mae Powell, and The Grease Traps play a free show at the Golden Gate Park Bandshell on Saturday, May 3rd, celebrating the 2025 Bay Beats submissions round!
