Charlie One brings township nostalgia to life with new single
Limpopo-born artist Charlie One, known for his dynamic presence in South Africa’s music scene, is back with a single that takes listeners on a journey to the heart of township childhoods.
“Dumela Mma-Dlamini”, a collaboration with Mr Diego, Mokgethwa, and Bravo Shooter RSA, revives a traditional Sesotho children’s greeting song, fusing it with the energetic beats of lekompo.
For Charles Makgoba, professionally known as Charlie One, music has always been more than entertainment; it is a vessel of memory, identity, and cultural pride.
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Born and raised in Turfloop, Mankweng, just outside Polokwane, he began his artistic journey on the dance floor.
“I started as a dancer in the early 1990s,” Charlie One recalls. “Pantsula was my first love. I entered competitions all over Limpopo, and winning Jika Majika on SABC1 was my breakthrough. That’s when people really started noticing me.”
From those early days as a dancer, Charlie One transitioned into the music scene, initially as a kwaito artist.
The genre, which emerged in the post-apartheid 1990s, gave a voice to township youth and became a soundtrack for a generation discovering freedom. Charlie One’s early singles, such as “Ngwago ke Waka” and “Weekend”, reflected the rhythms of the streets while establishing him as a rising force in Limpopo’s music community.
“Kwaito taught me everything about rhythm and storytelling,” he says. “It wasn’t just music; it was a way of expressing who we were, our culture, and our streets. That foundation led me to lekompo, which has grown to dominate Limpopo and now the rest of South Africa.”
Lekompo, a vibrant and dance-driven genre, allows Charlie One to combine his roots in kwaito with contemporary sounds that appeal to a broad audience.
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His 2022 project, Sghubu Sa Charlie One, demonstrated this versatility, featuring tracks like “Ke Game” and “Follow Follow” with Nelly Master Beat. These songs captured the township heartbeat while pushing lekompo into fresh territory.
The release of “Dumela Mma-Dlamini” in 2025 continues this trajectory. Built around a traditional Sesotho greeting song sung by children, the track evokes nostalgia and reminds listeners of communal bonds and childhood play in the township streets.
Charlie One explains the intent behind the single: “This song is a reminder that our roots matter. We grew up playing in the streets, bonding through sport and games. Today’s kids need that same spirit—not just screens and harmful habits.
Dumela Mma-Dlamini is our way of telling the next generation: never forget where you came from.”
The single has already begun attracting attention beyond Limpopo. By combining old township chants with modern lekompo rhythms, Charlie One bridges generations, linking the sound of the past with the contemporary music scene.
“People often ask me why I still carry kwaito in my music,” he says. “But it’s part of my story. It’s who I am. Kwaito gave me confidence, taught me rhythm, and helped me find my voice. With lekompo, I’m taking that legacy forward.”
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Charlie One’s collaborations also highlight his commitment to community and mentorship. Working with respected artists like Mr Diego, Mokgethwa, Bravo Shooter RSA, and others, he ensures that the spirit of township music and culture continues to thrive.
His previous single, “Dankie Jehova”, featuring Janisto & CK, earned a Sepedi Music Award for Best Collaboration, cementing his reputation as one of Limpopo’s most influential contemporary artists.
In addition to his music, Charlie One remains deeply connected to Limpopo’s youth. He frequently engages with schools and community events, encouraging young people to embrace their heritage and explore creative expression.
“Music is about storytelling,” he says. “It’s about making people feel, remember, and celebrate. If we can pass that on to the next generation, then we’ve done something meaningful.”
“Dumela Mma-Dlamini” is available on all digital platforms, accompanied by a music video that captures the vibrancy of township life and the joy of childhood games. For Charlie One, the single is not just a song, it is a cultural statement, a nod to the past, and a message for the future.
As Limpopo’s music scene continues to evolve, Charlie One stands at the intersection of tradition and innovation. His journey from pantsula dancer to kwaito artist to lekompo pioneer is a testament to his resilience, creativity, and commitment to keeping the rhythms of the township alive.
“I want people to dance, sing, and remember,” he says. “That’s what music is for. And that’s what I’m here to do.”
