CTIJF's home for pure acoustic sound

INSIDE THE ROSIES STAGE

- LUTHO PASIYA

MARIA João brings a performance shaped by experimentation and cross cultural exchange to the Rosies stage. Supplied

THE Cape Town International Jazz Festival (CTIJF) is preparing for its 2026 edition, set to welcome audiences from across the world for two days of music and cultural exchange.

Taking place on March 27 and 28 at the Cape Town International Convention Centre (CTICC), the event continues to hold its place as one of the continent's most recognised music gatherings.

Known as Africa's Grandest Gathering, the festival brings together global icons and local voices across multiple stages, each offering a distinct listening experience.

Among these, the Rosies stage stands apart. Designed for close listening, it offers a space where sound, detail and musical conversation take priority over spectacle.

For audiences who seek the essence of jazz in its most focused form, Rosies has long been regarded as the festival's quiet centre.

The Rosies stage is built around intimacy. Unlike the larger stages that draw crowds with scale and energy, this venue is seated and limited in capacity. This creates a setting where every note is clear, and every shift in rhythm is felt.

The acoustics are carefully tuned to support acoustic instruments and vocal clarity, allowing performances to unfold without distraction. It is a space where the relationship between artist and audience becomes immediate.

This year’s Rosies programme reflects that intention, bringing together a selection of artists whose work invites attention and rewards careful listening.

Maria João brings a performance shaped by experimentation and cross-cultural dialogue. Known for a vocal style that moves between structure and improvisation, she presents a project that connects Lisbon and Maputo.