When Megalodon first started releasing music out of Cape Town, their sound stood apart from much of what was happening around them. The band came up at a time when bedroom production was changing heavy music, and a lot of what bigger scenes already had in place still had to be worked out locally: how to build those sounds, how to carry that precision onto a stage, and how to make people believe it would hit live.
A lot has happened since then. Metal4Africa became part of the band’s foundation, Wacken opened up a wider view of how the metal world works, and the last few years have pushed Megalodon through loss, lineup changes, and a new writing process. Speaking to AFRICA.ROCKS, Ruan Jordaan and Thomas Theron reflect on the lessons that stayed with them, the stronger links forming across South African and African metal, and why the band feels settled again.
“It felt like a small revolution, because people were suddenly producing full tracks from their bedrooms.”
Megalodon came out of Cape Town with a sound that felt uncommon locally at the time. In those early years, what did you have to figure out for yourselves that a band in a bigger metal market might have taken for granted?
Ruan: It was a very interesting time. I was hanging around a lot on the old Meshuggah and seven-string forums back in the day, soaking up all the info I could get about the early djent sound that was starting up. Guys like Misha Mansoor (Bulb) from Periphery and Acle Kahney from Tesseract and Fell Silent were posting demos and sharing how they got those sounds. It felt like a small revolution, because people were suddenly producing full tracks from their bedrooms.
On the technical side, the Line 6 POD XT Pro and Superior Drummer were the early drivers of that bedroom metal producer boom. Line 6 modellers were our first foray into digital modelling and became a core part of our early sound, especially for Louis and me. All the old-school POD people will remember the “Big Bottom” amp model. Around the same time, Ibanez released the RG2228, their first non-signature eight-string, and that opened another door. Suddenly we could get much closer to the sounds we were hearing on Meshuggah records like Catch Thirtythree, Nothing, and Chaosphere. That was the period when we started writing and releasing demos, around 2011.
Thomas: It was really nice having Ruan and Louis behind the scenes when it came to our sound and developing it. Being the new kid on the block, Megalodon was such a learning curve for me. Louis once told me that there is a difference between a frontman and a vocalist. A good vocalist with no performance is not as entertaining. However, even if you’re not that good yet, if you can keep the vocals alive and bring the party, that’s entertaining. Be both a frontman and a vocalist.
We needed to translate our bedroom production over to live events. I needed to step up my vocals. So we had to figure out how to approach that in the South African metal scene in our early years. Some people were hesitant that we would be able to do it back then, especially considering the technical side of the music.
“We had to work out how to take something built in a bedroom and make it work on stage. Some people really weren’t sure we could pull it off live.”
Your first real push came through local spaces like Metal4Africa. Looking back, what still feels familiar, and what feels completely different in South African metal now?
Ruan: Yeah, that first gig was wild. It felt awesome to play music that was very different from what was out there in the local scene, and I’m still very grateful to Patrick Davidson and Metal4Africa for giving us that opportunity, especially since we had no gigs as a band and were asked purely because of the hype we generated from our demos back then.
Metal4Africa will always feel like home, and we were very happy to play it again at Winterfest 2024 and Summerfest 2026. Winterfest 2024 was especially a full-circle moment for me, signifying my return to the band. I think seeing all the faces that have been in the scene since the beginning is what feels most familiar to me, but I do love it when young people come up to us and say they enjoyed the show or that it was their first time seeing us.
Thomas: Metal4Africa will always have a special place in my heart. Even though it’s been running for more than 20 years, it’s still so amazing to see the same dedicated faces at these shows. We’re seeing new faces as well, and that is social media taking action.
Today, the emphasis on social media is definitely completely different. You can’t just make a post about a show. It feels like you need a video, you need interaction, and you need to promote very differently now than you did ten years ago. But the best new thing about South African metal now is how borderless it feels today. It always felt like Gauteng bands played in Gauteng and Cape Town bands played in Cape Town. That has disappeared today and has even gone deeper into Africa with productions like Wacken Metal Battle and bands organising their own tours to KwaZulu-Natal.
“Wacken was definitely a learning experience, both on and off stage.”
Winning Wacken Metal Battle South Africa and getting to Germany in 2017 was a major moment. Once the trip was over and you were back home, what stayed with you in practical terms?
Thomas: Wacken was definitely a learning experience, both on and off stage. I think, speaking from a practical sense, I definitely value communication. There are so many moving parts that, if you don’t communicate clearly, it can lead to avoidable dilemmas. Communicate your intentions or your thoughts with your band. It makes life and planning easier.
Another thing is that asking is free. Walking around at Wacken, you get to meet so many different people from all walks of the industry. Ask questions, ask if you can play a show, ask if you can help out in some way or another. If you don’t ask, you will never know. The worst people can say is “no”. Also, help your drummer carry their gear. It’s a lot, and it makes everyone’s lives easier if you help out.
“We’re taking a break from live shows right now so we can focus on new music.”
You’ve had quieter years when it comes to releases. Do you see Megalodon returning to the studio soon, and what has to line up for the timing to feel right?
Ruan: Yes, absolutely. We’re taking a break from live shows to work on new music right now. So far, it’s been a very different process, since Louis was our principal songwriter and producer back in the day. Though Andrew and I both contributed to writing songs on Darkness in Sonnance (2012) and Illusion of Origin (2017), this time it is more of a collaborative effort.
What I can say is that our writing process always starts the same way. We come up with a concept. A theme for what the album will represent, or things we are currently going through or thinking about. Recently, we’ve been talking a lot about the concept of “change” on various levels. Our band has experienced a lot of change recently. In 2024, we had to say goodbye to Louis and Nuri, and then in 2026, we also welcomed Mike into the band on bass.
The vibe in the band has never felt this good. There is a lot of love and passion in this band. So this idea of change will be reflected in the music, but in a way only the “Space Haai” can do.
Megalodon has always had a strong technical side, especially once the digital backline became part of the setup. How do you keep that level of control from sanding off the tension and instinct that heavy music needs?
Ruan: Honestly, setting up the “mothership” rig has made our gigs more fun and cohesive, and it has made it possible for us to put on shows that elevate the experience for the crowd. Since our brand of metal relies on technical precision, just hearing your bandmates and the click track makes it so much easier to lock in. There are even more cool things the rig can do, but I think it would be better to go through them at another stage, since there are other questions to answer. Let me know if anybody wants a technical rig rundown of our live rig.
Crowd Killing Cancer gave the band a very different sense of purpose, and debuting “Modulate” in that setting said a lot. What did that night mean to you beyond the usual idea of playing a good show?
Ruan: That gig was very personal to us, and I think if we didn’t play it when we did, we would have regretted it. The ending of that show, however, was bittersweet.
Thomas: That night meant a lot to us on a personal level. We put so much positive energy into that show. Our dear friend, Leon Visser, was diagnosed with Hodgkin’s lymphoma for the third time in his life. Dane and I had been talking about doing a benefit show for a very long time. We played a show in August 2025 with the Argentinian band NVLO, where we spoke to other bands about cancer and related experiences. We realised that night that we needed to stop talking about it and just organise the show.
Things went into high gear for that show very quickly. We had so many of our friends and family working behind the scenes to make it a success. Daisy Jones in Stellenbosch hosted the evening, and all proceeds went to Leon for his journey. We hinted very subtly at the fact that we wanted to play a brand new song that night. We wanted to give something special to the people who attended.
Due to prior arrangements, Andrew was unable to play the show, so that is how we got Mike on board on bass. I will be forever grateful to all involved, to each band that sacrificed their time, and to every attendee for their support. I’m glad we did not postpone the show. I’m glad Leon was still around to experience the love and support he got from the metal community. We miss him.
“we are in a very good and happy place.”
How have the latest shows felt from inside the band, and what have they told you about where Megalodon stands now?
Ruan: Going just off the last show we played, Summerfest 2026, we are in a very good and happy place. With Mike joining Megalodon on bass, we are back to where we are supposed to be. From my side, it is an absolute joy and honour to be able to share the stage with these guys, and I cannot wait to play you all some new music.
Thomas: I agree with Ruan. Having live bass again is a blessing. I think the renewed positive energy in the band makes it feel like a new band. And in a way it is. I know there are people out there who fell in love with the original lineup and don’t vibe with the new changes. That’s okay. I get that. Since our return in 2024, each show has had such an amazing vibe, and we want to continue that feeling when we play again.
“Some bands will joke and say they are glorified shirt salesmen.”
South African heavy music still gets treated as if each city exists on its own island. From your side, what have you learned from moving between Cape Town, Gauteng, and the wider circuit, and where do stronger links still need to be built across the African metal network?
Ruan: People are hungry for good music and good shows, and it’s good to see many more bands travelling to play shows across the country. As the scene grows and becomes more accessible, I’m sure it will expand north into the wider African scene, but it will predominantly be the new generation who do it.
Thomas: I think travelling is very viable in this country and outside our borders as well. It just requires extensive planning and preparation. You need to connect with promoters, festival organisers, bands, venues, and so on, and basically plan out a whole trip to do it. Selling merch is going to fuel the expedition, as most band income is from merch. Some bands will joke and say they are glorified shirt salesmen. There have been numerous bands in this country that have done it. So, it is possible.
But we as a community can strengthen these bonds by supporting local and international shows. By supporting any show, big or small, you make it viable for bands to travel. We are seeing the wider African link being strengthened by Wacken Metal Battle Africa going deeper into Africa. That is a start. Productions like SlamDank are also bringing those African bands down to South Africa and exposing South Africans to other African bands. This was rare back in the day, so we are definitely moving in the right direction.
To keep up with Megalodon and hear more of their music, head to their Bandcamp.
