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In an era where virality often eclipses vulnerability, Ben Rodrigues offers something far rarer: sincerity. The Durban-born musician is part of a new generation of artists reshaping the contours of South Africa’s music scene – not through spectacle, but through emotional clarity and creative conviction.
His rise, while seemingly swift, is underpinned by something more enduring than momentum: a quiet, deliberate commitment to authenticity. And in a landscape that often rewards immediacy, Rodrigues is choosing intention, independence, and creative ownership over commercial compromise.
As he turns 21 on 23 February 2026, he marks the moment with the success of his latest single, Hazel Eyes, reflecting on his path thus far – his support system, his rise to fame, his muse, his navigation of the industry, and what lies ahead for Ben Rodrigues, an artist who is just getting started.
“I realised that music shouldn’t try and impress the whole population, or even half of it. Find your niche. If you try to impress one percent of the population… that’s millions of people.”
Long before streaming platforms and sold-out sets, Rodrigues’ relationship with music was unpolished and almost unwanted. Raised in a musically inclined household, his first exposure to music camethrough his father who played in a band and his older brother who dabbled on the guitar. One could say creativity always lingered in the background. It was in Grade 4 that he first tried his hand with an instrument.
“I picked up guitar in grade four… I was terrible,” he admits. “I had a terrible guitar teacher… and he made me want to quit multiple times.”
However, what began as a compulsory school subject gradually evolved into something instinctive. By his teenage years, when he hit Grade 10 or 11, music had shifted from structure to freedom with a studio set-up at home. “It was more just for fun,” he reflects, a sentiment that would quietly redefine his path.
It was this pivotal moment in the form of a modest home studio that catapulted him to where he is today. “It was literally just a microphone and some speakers,” he says. “I recorded this little song, it was absolutely terrible. I think it was called “I Want It All” but I honestly can’t remember.”
And yet, the act of creation – and more importantly, sharing it – sparked something far more significant: “I just thought…maybe I could do this for a living.”
After matric, Rodrigues started chasing his dream by enrolling in sound production school in Cape Town. But, everything changed when two guys approached him to record a song. It was after this moment that he realised tertiary school wasn’t for him. His first thought was: “I need to call my mom.”
Bracing for the expected lecture, he was surprised when his mother simply said: “That’s okay, just follow your dream.” They have always just told him to keep following his dream.
Furthermore, amid the movement – the tours, the releases, the momentum – it is his support system that provides stillness. Even at pivotal crossroads, his parents’ response remained unwavering: trust the instinct, take the leap.
Alongside them, his girlfriend, Talisha Grobler, remains a constant presence. “Every single show, she’s on the side of the stage,” he says. “Good show or bad show… she’s always there.”
It is this grounding that allowed the rest to unfold.
If artistry is the foundation, then social media has been the accelerant.
Rodrigues’ breakout moment came with Was It Real, (2024) a track he initially dismissed. “I could not stand it,” he says. “I called my mom crying, saying just wanted to quit.” But with the encouragement of those around him, he shared a snippet online – a decision that would alter his trajectory almost instantly.
“They loved it straight away,” he recalls. “All anyone wanted to know was when I was going to release it. I think in one week I gained 100,000 followers. It was insane.”
However, beneath the metrics lay a more complex reality. “I found myself so attached to my phone… it became almost like a little evil.” It is his family and friends that ground him and keep him focused on what really matters.
Still, the immediacy of audience response has become central to his process – a modern feedback loop where his music speaks for itself. It’s not just about being seen, but about being understood by the right audience.
Rodrigues tells of how the music industry in South Africa is tiny – everyone knows everyone, and navigating the space is as much about philosophy as it is about strategy.
For him, the scariest part is that “you can fail faster than you can make it. There are so many people trying to make it that they start preying on your downfall, thinking it will let them get ahead.”
“It is in this way that you realise how small it is. If you make one wrong move, everyone knows.” In other words, it is a space defined by proximity, where opportunity and pressure coexist in equal measure.
“I realised that music shouldn’t try and impress the whole population, or even half of it. Find your niche,” he says. “If you try to impress one percent of the population… that’s millions of people.”
That same clarity informs his decision to remain independent. He always wanted his music to be his; never wanting to sell it to a record label. “Music is a piece of your soul, and giving your music to someone else would be like selling them your soul.” Luckily, Rodrigues found Artists Without a Label (AWAL) who promotes musicians without staking a claim to their sound.
With Hazel Eyes (2026), Rodrigues steps into a more contemplative space – one shaped by distance, love, and the emotional cost of ambition.
Written during his first UK tour but only recently released on 6 February 2026, the track captures a moment of stillness amidst acceleration. “I was sitting in my hotel room, completely alone. I was away from home, touring for the first time.” he says. “And I was like, wow…I hope this music doesn’t rip me away from everyone I love.”
At its heart, the song is a quiet plea – a reflection of holding onto human connection in a life that increasingly demands movement. Inspired by his girlfriend, Talisha Grobler, its sentiment is both deeply personal and universally resonant.
“I hope I don’t lose my hazel eyes,” he says – a line that lingers long after the music fades. Of course, everyone wanted to know who “hazel eyes” referred to, and Rodrigues was more than happy to talk of his muse.
“She is one of my biggest supporters at every show. It was actually at one of my very first shows that we met. It wasn’t my finest moment as I was still a cringey teen back then. But I invited her to my show, and her friend convinced her to come. I then went over to meet her backstage after the show, and the conversation ended with me asking her to stay for a slice of Woolies cheesecake. It was a tradition we had. I guess she saw something in me that convinced her to stay.”
While his catalogue has thus far unfolded through singles, Rodrigues is now working towards his debut album – a project he approaches with both ambition and restraint.
“This album’s been in the making since last year,” he says. “But I keep changing it… I want it to be right.”
However, in an industry driven by output, Rodrigues is choosing refinement. “I want to give the fans the best version of what I can give them, especially if it’s my first album.”
Sonically, the project hints at evolution, with a growing fascination for pop-country influences beginning to shape his sound. It’s a shift that signals both experimentation and self-discovery, suggesting that Rodrigues is less interested in fitting a mould than in building one.
Whilst his sound resists easy categorisation – moving between indie pop and pop-country influences – and his album has no release date except hopefully by September, Rodrigues hints that a new single, “Back To You”, might appear soon. He also hinted at working with some artists in the States, and that he will continue to show South Africa the love it has shown him.
“If I do an album tour, I will focus on hitting every town and city across South Africa before looking at overseas. Touring is my favourite part of everything – the entire atmosphere is amazing, and even though there are nerves, going out on stage is like being home, and everyone’s just there to dance and sing.”
Throughout our conversation with him, it was obvious that Ben Rodrigues is not presenting a finished product. He is, instead, inviting us into the process. And in doing so, he reminds us that the most compelling artistry isn’t always the loudest – it’s the most honest.
Listen to Hazel Eyes and other music by Ben Rodrigues here.
The daunting number of unanswered emails, the constant “ping” of social media notifications and the growing pressures of “always-on” work-from-home culture have many South Africans
The daunting number of unanswered emails, the constant “ping” of social media notifications and the growing pressures of “always-on” work-from-home culture have many South Africans
As he turns 21 on 23 February 2026, he marks the moment with the success of his latest single, Hazel Eyes, reflecting on his path
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