As he ventures into writing songs in a new language, Ard Matthews reflects on his musical history
When did your love for music originate?
Ard Matthews: Growing up, Nat King Cole, Louis Armstrong and some Elvis was about the only music that filtered into the house on one of these old flat cassette players. Even as a young kid, I was fascinated by the tones and timbre I heard. I’d try to mimic those legendary voices, and once I got a taste of that creative energy, I was hooked. It was never just background noise for me; it was a form of expression that felt completely natural.
When did you first realise that you have an amazing singing voice?
Ha ha! I never woke up one day and thought, “Wow, I have an amazing voice.” It was more of a slow realisation from people’s reactions when I sang. In school, I’d belt out these old songs I had learnt during breaks or mess around in the music room and teachers and friends would say, “You’ve really got something there.” Their feedback built my confidence. Over time, I thought, “Okay, maybe I can run with this.”
You’re able to play the drums, keyboard and guitar. Do you have a favourite instrument, and why?
Thank goodness I can sing and write songs, because with instruments, I’m definitely a master of none, sadly. I would say guitar is my comfort zone. There’s something about having an acoustic in my hands – it feels like an extension of myself. I did a Percussion Institute of Technology (PIT) drum diploma right after school, which was a great help for me to understand rhythm and note values. Piano is by far my favourite instrument, as it opens up tonnes of harmonic possibilities, but the guitar allows me to be both rhythmic and melodic in the simplest, most direct way. It’s also the instrument I’ve spent the most time writing on, so it has a special place in my heart.
Who were your musical inspirations?
There are many. South African artists like Johnny Clegg had a big impact with his blend of local sounds and cultural storytelling. Internationally, I’ve always been inspired by Stevie Wonder for his soul and vocal artistry, Led Zeppelin for their raw energy and boundary-pushing, and The Beatles for their melodic and universal appeal. Also bands like Pearl Jam, Counting Crows and Radiohead. They all taught me how powerful music can be when it’s genuine and soulfully delivered.
As a songwriter, what is your process?
It usually starts with a melodic idea or even just a chord progression that sparks something in me. Sometimes, a single phrase or a lyric snippet will pop into my head and I’ll just store it until it reveals itself. I tend to record voice notes on my phone wherever I am – on a walk, in the car, at home. Then I piece it all together, hashing out melodies on the guitar. It’s often messy and I like it that way. Creativity isn’t always neat. Once I have a basic structure, I refine lyrics and shape the song’s arc until it feels honest and complete.
You settled in Los Angeles for eight years, where you and Just Jinger performed. Take us back to that experience.
Moving to LA was both exhilarating and challenging. On one hand, there’s this vibrant music scene with endless opportunities. You’re rubbing shoulders with artists from all over the world. On the other, it’s hugely competitive. We played iconic venues like The Roxy, House Of Blues and The Viper Room and every show felt like a mission to prove ourselves. But those years taught us resilience, helped us refine our sound and broadened our perspective on the global music industry. By the time we returned, we had an entirely new appreciation for where we came from and what we had to offer as South Africans.
Returning to South Africa in 2009, how had the music scene changed for you as an artist?
When I came back, I noticed a real sense of pride in local music – more so than when we’d left. There were newer festivals, more diverse collaborations and people actively supporting homegrown artists. The internet and social media were also starting to influence how musicians could market themselves. But at its core, the warmth and passion of the South African audience was still there; it felt like coming home and it was comforting to realise that bond hadn’t changed.
You perform with Just Jinger and also enjoy a solo career. What are the benefits of ‘flying solo’?
The band is like family – I love the collaboration and shared energy. But, sometimes, you want to explore themes or styles that might not fit the band’s identity. Going solo allows me to take risks, follow creative tangents and shape a show exactly how I envision it. It keeps me growing as a musician and challenges me to stand on my own two feet without the safety net of the group. But trust me, I adore both avenues equally.
You released the Afrikaans song Die Rede in 2024 with Tanya van Graan. Has your Afrikaans improved since the two of you started dating?
Well, let’s say I’m definitely more confident attempting the language now! Tanya is very patient with me. Writing and singing in Afrikaans was a new challenge but also a lot of fun. It gave me a deeper respect for the language and how beautifully it can express emotion. So, yes, my Afrikaans vocab has grown – but I still get corrected a fair bit.
Exciting projects on the horizon?
I’m currently working on my third solo album in my ‘dungeon studio’. I’m really enjoying the freedom of working around the clock, often going tech-free for stretches to fully channel the music. There’s something magical about immersing myself in that creative flow without distractions, and I can’t wait to share what comes out of it.
Text | Heléne Ramackers
Photography | Marcos Cruz
For more information, go to ardmatthews.com.
