It is the 2020s in unfriendly and disengaged Philipi, one of Cape Town’s youngest townships with no more than forty years of history. A visibly tired and sluggish Mama Priscilla (Nambitha Mpumlwana) who doubles as the show’s narrator and a domestic helper with over forty years of experience, opens up her house and life to the audience.

Born in Illinois to immigrants from Rwanda and Uganda, African and Jazz legacies are always crucial to Somi’s sound. A two-time recipient of The Doris Duke Foundation’s French-American Jazz Exchange Composers’ Grant, she is often referred to as a modern-day Miriam Makeba, with very good reason.

Now a revised verb in many South African thesauruses, “eating” no longer refers exclusively to the act of consuming food. It now also refers to the act of plundering any and all state resources with a particular partiality to dibs, legal tender or what some may call “zak”.

I could not leave of course before I thanked my ancestors through the much beguiled J&B Jet. It is the reason I’m on this Whisky sojourn after all. As we bumbled our way out at the end of the evening, I heard someone say same time, same place next year, and I realised It was a grand event for grand laaities who lost their sophistication somewhere between the Glen Grant single malt and Michael Kors’ rather pricey fragrances.

Tasked with recounting the life and times of Jairus ‘Jakarumba’ Nkwe, a successful yet notoriously colourful problem child of Kwaito, the production in fact went beyond its call of duty as it drew crowds from all sectors of society, folk who thirsted for times yonder when street bashes and 6 to 6 parties were the order.