The SABC broadcast towers loom over Auckland Park like silent giants, a constant reminder of the “big time” just across the street. We walk a loop around the Radio Park vicinity, the Jozi sun dipping as the day slowly exhales.
Nino Fresko isn’t rushing. He moves with the calm of someone who knows exactly where he’s headed. Between the distant hum of traffic and the rustle of dry leaves underfoot, the layers begin to peel back. The “Kasi Rockstar” softens, and in his place stands Lindelwa Mbhele from Bethlehem.
This is the conversation.
Let’s start with the man behind the music. What’s your full name, when were you born, where are you from, and what does life look like when the music is paused?
My name is Lindelwa Mbhele. I was born on the 30th of June 2001. I’m from Bohlokong, Bethlehem in the Free State. When I’m not making music, I enjoy watching movies, I really love those. I also spend a lot of time ideating. I love creating, so even when I’m not actively making music, I’m thinking about what to create next, and that brings me a lot of joy.
You’ve released three full-length projects that have helped define your place in South African music, and day-one fans will remember Durag Pretty. Looking back, which project felt the most personal or fulfilling to create?
Of all the projects I’ve made, the one I had the most fun creating is Dial 058. It came so naturally. I didn’t have to overthink how it would connect with people because I already knew why I was making it and what it meant to me. I didn’t even care whether it connected or not at the time because it felt special. That one, for sure.
You’ve mentioned influences like Kendrick Lamar and Khuli Chana, but your sound carries a strong Kwaito spirit. Which two Kwaito artists shaped you, and who are two names from Bohlokong the world should be paying attention to?
From Kwaito, M’Du is definitely number one. I’d also say Mzekezeke. The first time I heard him when I was young was crazy. One of my uncles had his CD, and everything about it pulled me in, the imagery, the voice, the whole persona. As I’ve grown, I’ve come to appreciate him even more. What he did feels like a moment where he created characters to make the music stand out while still being authentically South African. That was powerful to me.
In terms of the Free State, I have many inspirations, to be fair, but I’ll highlight two for you. First, Ovid Amo. The guy o kile a tla moketeng heso (he once came to a ceremony at my home), this was around the time my uncle was still a producer. I remember they were playing beats, and I saw him rap like his lung out, bro. Those raps changed my life. It was the first time I learned how serious rap is. And he was saying all of this ka Sesotho (in Sesotho), and it was everything I knew and understood.
Prior to that moment, rap was so distant for me, listening to the likes of Lil Wayne and other international artists. But in that moment, listening to Ovid, I heard charismatic punchlines with a local flair. So for that reason, he’s got to be my number one.
Number two would have to be Andrianto. He was the first rapper from Bethlehem I remember pushing the envelope. Hearing him on platforms like YFM was so inspiring for me, especially as that young boy who was always sitting in front of the TV at home listening to the station. I also have to mention J-Cob, man. Jay Master, like the other guys I mentioned, entlek, the entire Tshepe movement did their thing and sparked something serious in me.
Let’s talk about the current moment. Your latest single Sdakwa is making serious noise. How did the collaboration with Zackey and BZM come together, and what drew you to their sound?
The Sdakwa story is crazy! The song came about after the Cotton Fest Mixtape sessions we had. That’s where I met Mash Beatz, and he tagged along with BZM and Zackey because they are under his OuttaThisWorld label. We worked on the project and they were like, they’re going to start sending me beats, and I was like, that is so crazy! We also worked on a couple of songs.
There’s also this one time BZM sent me a pack he worked on with Zackey while he was in Jozi, and he was telling me about when he first produced on Maglera Doe Boy’s first album – producing Makazana. The other worked on Mash’s Nobody. I wasn’t really familiar with them at that point, and I was like, these guys are insane!
However, in terms of collaborating for Sdakwa, I refrained from just asking for a beat and instead gave them the idea of what sound I was trying to go for. They worked on something, and I instantly knew the beat was the one! We then worked intensively on the song, and the result is what you guys hear now. And need I add, that whole process was amazing, bro!
From winning the Cotton Fest Open Mic in 2023 to being part of the Creative Programme, your journey has evolved quickly. What was that bootcamp experience like, and what are you most excited for fans to hear from your contributions?
The graduation thing from Cotton Fest was the best thing to ever happen in my life, ’cause it opened so many doors for me. It felt like a dream. That text back from Aunty Bianca and Themba telling me about the camp with Mash Beatz, I was like … yoh, that is crazy!
The one thing I’m most excited for my fans to learn about my contributions there is, where I’m going next with the sound. Why I keep emphazing that I’m the Fresh Boy. Why I’m having fun with making Hip-Hop and trying some new stuff with one of the greatest producers we’ve ever had in the country. That’s exciting for me. I can already see the reactions I envisioned, even with the supportes who weren’t familiar with my work before showing love on the socials sending me messages like, “yo, I just heard your music now, and you’re insane! What you guys did on the mixtape is amazing.”
Was there a moment in your journey where everything clicked, where you felt certain that you’re exactly where you’re meant to be?
So many, bro. But one of the most special moments would be the time I met Slikour at one of my first studio camps. It was such a great one, to a point where he reassured us that we were next up.
The likes of Zee Nxumalo, Thatohatsi, and DJ Stresser were some of the names in that camp, and as you can see, they’ve all gone on to secure their rightful places in the game. And obviously, me now. Shout out to Slikour, man. I look back at that moment to this day, and I’m still appreciative of it.
What’s your long-term vision for Free State hip-hop?
I want to see more collaboration, more shows created by Free State artists for Free State artists, and more people putting themselves out there. I want to see us on bigger stages like Cotton Fest or Back to the City. That’s the dream.
For someone discovering you for the first time, which three songs best capture the Nino Fresko experience?
Sdakwa, Batho for the more emotional side, and Faki Pressure for the high-energy sound. Those three show the different sides of me. Whether it’s serious or fun, I want my music to give people confidence and help them face whatever they’re going through.
Looking ahead, what would the future version of you say to the young boy in Bethlehem who’s still unsure if this will all work out?
I’d tell him to keep creating. Do it as much as possible, even when you doubt yourself. People will understand. There are people out there who will connect with what you have to say, not what you think they want to hear. That’s what matters.
If it wasn’t music, what would you be famous for? I say “famous” intentionally, because your superstar appeal is loud
Maybe something like being a creative or a movie director, with the latter having the edge. Only because that’s a profession that would allow me to learn so many things so I can ultimately create one big masterpiece. I think that’s the one thing I love the most. Which is also something I really love about making music.
By the time we complete the loop, the shadows of the towers stretch long across the pavement. It feels fitting. Nino Fresko is beginning to cast a shadow of his own, one that’s only getting bigger with time.
There’s a quiet certainty in how he speaks about his journey, his sound, and what lies ahead. And if this moment is anything to go by, the trajectory is clear.
The Free State isn’t waiting for recognition. It’s taking it. And Nino Fresko is right at the centre of that movement.
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