With Indandatho, Halo Yagami offers a deeply personal exploration of love, vulnerability and the desire to build something lasting with another person. Named after the isiZulu word for “ring”, the project uses the symbolism of commitment to explore everything from giving yourself fully to a partner to finding someone you can genuinely build a future with.
Across the project, Halo Yagami embraces honesty over perfection, allowing vulnerability to shape both the music and its storytelling. From the openness of ‘Uyikhokonke’ to the global ambitions hinted at on ‘Paris’, Indandatho moves through different shades of romance while remaining cohesive in its vision. We caught up with Halo Yagami to unpack the meaning behind the project, his approach to sequencing, collaboration, love and the journey towards taking his sound to a global audience.
In my research, I found out that Indandatho means ring. Why did you go with that title and what does it mean in terms of the meaning of the project.
For a lot of people a ring is a restriction and I feel as though its solidifying your decision to be with one person for eternity. That was the angle I was coming from.
I believe that an intro and outro are particularly significant for any musical offering. Why do you start us of with ‘Uyikhokonke’?
The beginning is very important for setting the tone. It’s basically how you establish the body of work. I feel like it had to be ‘Uyikhokonke’ because it carries so much vulnerability. If anything, it’s very honest. It’s not the song where I am trying to prove how good of a singer I am. There aren’t a lot of vocal gymnastics. I just wanted to be honest on the song hence the meaning of the title, ‘you are everything’.
On ‘Uyikhokonke’, you are baring it all for a romantic interest. Would you say that you are a lover that goes all out for their partner? (On the song you talk about what you have to present to your lover?
Of course, that is the only way I know how to love. I’m not the type of person to be half in or half out. I don’t sit on the fence about love.
On ‘Welela’ you talk about you not being able to find a lover like the romantic interest you are talking about. That got me thinking, do you believe in the concept of soulmates?
I would say both yes and no. I would say yes, I believe that there is someone out there who is meant for you. I would also say no because people can fake an image of a soulmate. They try to mould themselves into the perfect partner. They try to align with your values and try become your soulmate.
On the song ‘Isendleleni’, you talk about building a future with a romantic interest. Have you ever experienced a love that intense and what was your experience of that love?
Building with someone is very tricky if you are not on the same page. With this record, it’s a song that’s about finding a person that makes sense to build with. I feel like I’m at that stage in my life where I am ready to build with someone. That song came from a place of honesty. It wasn’t really fiction. I’m trying to build with someone right now.
On ‘Hlali Nami’ you talk about wanting to have your love interest stay with you. Why did you choose to include this narrative on the Indandatho?
This song is pretty direct. It correlates with Indandatho perfectly because if I give you the wedding band, I am asking you to stay with me forever. It’s just an extension of the album. The projection I use in the song is vulnerable. I actually like the cracks and the husk in my voice. I love how natural it feels. I’m glad the messaging is translating. I thought it would be one of those songs where only I would understand the meaning.
When I got to ‘Hlana Nami’ I also started to wonder about the tracklisting. Can you describe the process of sequencing the Indandatho?
I’ve probably rearranged that album four to five times. I wouldn’t make drastic changes; I would swap one or two songs. This is because cohesion is important to me. I thought about how one song would pour into the next. I had to make sure its progressive. It needs to make sense when you are listening to it. ‘Hlana nami’ is the calm before the storm. ‘Ngwe Nganele’ is more upbeat. ‘Mai Tai’ picks it up a bit then ‘Paris’ knocks it out of the park.
On ‘Ngawe Nganele’ you talking about being fed up with your romantic interest. Would you describe as a jaded figure?
No, the song actually means that I am content with you. There is no friction on this tape. Even ‘Welela’, that song’s about not having seen such beauty.
The song ‘Mai Tai’ features Maglera Doe Boy and Chipego and it got me thinking about your collaborative process. You are an artist that creates such a unique sound, do you struggle to find artist that you can bring into your own world?
It’s a very easy process. I tend to work with people that understand my nature of creating. I always pick people that are honest in their art as well so that when we meet, it’s very natural. My features are always a natural experiences.
As I said at the beginning, the intro and outro songs are crucial. Where do you leave us off on the song ‘Paris’?
That’s that global angle. It incorporates west coast R&B with me singing in Zulu. It’s basically like a note self that the end goal is still global appeal. I’m still trying to get to France, London or New York; I’m trying to get to Drake and Kayne West. If someone like Chris Brown would listen to that song without know me, he would think that’s actually tight.