For Zamani Folade, Halifax isn’t just home—it’s the foundation of her artistry. Born into a musical family and raised in an African Nova Scotian community, she was shaped by the city’s rich cultural and musical landscape. From singing in church to performing on international stages, Halifax has remained a constant source of inspiration, influencing her songwriting, sound, and sense of identity.
In this conversation, Zamani reflects on the impact of Halifax’s music scene, the role of community in her growth, and how she weaves storytelling into her songs to inspire and uplift others.
Halifax has a rich and evolving music scene. How has the city shaped your sound and artistic identity?
The water, the seasons, growing up in Halifax and witnessing the city’s growth and transformation in the last few years have all shaped my perspective and creative expression—it’s the imagery in my mind that I pull from to paint a picture with my song lyrics. Being from an African Nova Scotian community is a significant part of my identity and heavily inspires the topics I explore in my music. For instance, my song “Sway the World” focuses on Black women’s hair and its importance as a form of self-expression and cultural identity. Being African Nova Scotian connects me to something larger than myself and I am driven to represent my community with pride and authenticity through my art.
Are there any local venues, artists, or communities in Halifax that have been particularly instrumental in your growth as a musician?
My growth as a musician has been deeply shaped by the people and communities around me in Halifax, starting right at home. Both of my parents are musicians, and their influence has been foundational to my artistry. Like many in the Black community, I also found that the church was a catalyst for my love of music and my confidence as a performer. Some of my earliest moments singing in front of an audience happened there. It gave me a safe and supportive environment to grow my voice and stage presence.
As I moved into the wider music scene, organizations like ANSMA (African Nova Scotian Music Association), ECMA (East Coast Music Association), and MNS (Music Nova Scotia) were instrumental—they helped me sharpen my stage presence, receive feedback from industry professionals, and connect with a broader community of artists.
Halifax is known for its strong storytelling culture—how does that influence your songwriting and creative process?
Storytelling has always been at the heart of my songwriting. I’m always looking for fresh and meaningful ways to talk about everyday life through angles people can connect with. I often use imagery, metaphors, and literary techniques that appeal to the senses.
To me, storytelling isn’t just about lyrics; it’s about the music itself and the vocal arrangement, too. I think a lot about the song’s journey—where it should rise, where it should fall, where the music should pull back to let my voice shine through more.
How do you use your platform to inspire or uplift other women in music and beyond?
A big part of my songwriting focuses on uplifting women and shedding light on shared experiences that connect us. I want the women and girls who listen to my music to feel seen and represented. One thing I try to do is encourage female artists in my circle to try music production. It’s useful to gain skills that make us more self-sufficient in an industry that’s still largely male-dominated. Too often, women are seen only as the talent—the voices, the singers. I want to help shift that narrative.
How did your time as a Dalhousie University architecture student influence your music?
As a musician and full-time architecture student, I like to say I’m balancing two plan As. Both music and architecture are integral parts of my life and while they may seem like separate worlds, music consistently influences my architectural work, more than the other way around.
After completing the Bachelor of Community Design at Dalhousie University, I transitioned into the Bachelor of Environmental Design Studies (BEDS) to focus fully on architecture. Throughout BEDS, I incorporated music into nearly every project: a café with a performance stage, a bandshell on the Halifax Common, and a large multi-maker space that featured music studios and a central amphitheatre for live events.
Now, while doing my master’s degree, I’ve continued to explore the relationship between music and design. I often use musical terminology and theory as a tool for architectural analysis and design. Music has served not just as inspiration but as a guiding principle in my entire approach to architectural design.
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This interview has been edited and condensed for clarity.
