South African musician Credo V Daniels is continuing to make significant strides in the music industry despite months of online criticism surrounding his use of artificial intelligence and questions about his live performances.
The singer, songwriter and producer, whose real name is Credo Danel Mandlhazi, shot into the spotlight in 2026 following the success of his debut album Still Where We Were. Songs including Sedilaka, Ngafa and Njalo Njalo attracted millions of streams and views, rapidly turning the previously behind-the-scenes producer into a recognised recording artist.
But his rapid rise has also been accompanied by controversy.
Live performances ignite criticism
Questions surrounding Daniels’ music intensified when he began performing his songs live.
After his first major live performance in June, clips circulated widely on social media as some listeners argued that his vocals did not resemble the polished sound they had become accustomed to on his recordings.
His management, Curato Music, acknowledged that the performance had fallen short of expectations, pointing to technical difficulties and Daniels’ limited experience performing on major stages.
The debate intensified following another live television performance, with viewers again questioning the difference between Daniels’ live vocals and his studio recordings.
The criticism inevitably returned attention to something Daniels had already openly discussed: his use of artificial intelligence during music production.
What Credo actually said about AI
Daniels has disputed suggestions that AI simply creates his songs for him.
Speaking about his production process, he described AI as a tool and said musicians should first create their own work rather than simply entering a prompt and allowing artificial intelligence to produce everything.
More specifically, Daniels said his use of AI included backing vocals and choirs, explaining that he once turned to the technology when musicians he wanted for a choir session failed to arrive.
His management later expanded on that explanation, saying AI-assisted tools formed part of a much broader production process involving songwriting, arrangement, musical direction and production.
In their words, “Technology did not create the vision.”
Daniels has also maintained that he writes and creates his own music.
The explanations have not completely silenced his critics, particularly those who continue to question why his live vocals have at times sounded substantially different from his recordings.
Daniels, however, has indicated that the controversy is not stopping him. Asked about listeners’ concerns over how the music is produced, he argued that ultimately his audience cares about whether the finished product sounds good.
‘Njalo’ lands major television deal
Now, while the debate around AI continues, Daniels’ music career appears to be moving forward.
His song “Njalo” has secured the title sequence for Season 4 of Mzansi Magic’s popular reality show Izingane zeS’thembu, marking Daniels’ first television sync licensing deal.
The reality series follows the children of businessman and reality television personality Musa Mseleku as they navigate adulthood while growing up in one of South Africa’s most prominent polygamous families.
Daniels’ management described the agreement with production company ThanxMa Productions as an important commercial milestone for both the musician and his independent music company, Curato Music.
His management also argued that the deal demonstrates growing commercial confidence in Daniels’ catalogue despite the intense online debate surrounding his music.
Controversy hasn’t stopped the music
The television placement represents an important moment for an artist whose breakthrough has been anything but conventional.
Daniels spent close to two decades working behind the scenes as a producer before emerging as a recording artist himself. Within months of releasing Still Where We Were, he went from relative anonymity to having songs reaching millions of listeners — while simultaneously becoming one of the central figures in South Africa’s growing debate about AI, musicianship and authenticity.
The criticism has not disappeared, and Daniels still faces the challenge of convincing some audiences that his live performances can match the expectations created by his studio recordings.
Commercially, however, his career continues to move forward.
With Njalo now attached to one of Mzansi Magic’s established reality television programmes, Daniels has secured another significant achievement at a time when many expected the controversy surrounding his music to slow his momentum.
For now, Credo V Daniels appears determined to let the music — AI debate and all — keep carrying him forward.
