Alumni spotlight: Dillon Davie
- Lucille Davie
Music alumnus revives the rare, resonant sound of the theorbo for modern audiences.
There are only two theorbos in South Africa, and one is played by Ñî¹óåú´«Ã½ alumnus Dillon Davie (BMus 2005).
An early Baroque instrument from the lute family, the theorbo is instantly recognisable by its unusually long neck and imposing size, standing about 1.8 metres tall. Despite its rich, resonant sound, it is not an easy instrument to master.
"It is quite difficult to play. It's large, unwieldy and awkward," says Davie. "There's a reason smaller guitars are far more popular."
The 42-year-old musician plays the 14-string theorbo in the African Renaissance Ensemble (ARE), which he joined alongside fellow Ñî¹óåú´«Ã½ music alumnus Adam Golding (BMus 2006). The ensemble acquired both a theorbo and a Baroque guitar on loan from the Buskaid Soweto String Project in 2022.
Although self-taught on the instrument, Davie says his years of performing early music on guitar gave him a solid foundation. "It makes for an antique sound — delicate but complex," he says.
Many other global ensembles use them, but only those who specialise in Baroque or earlier music. Dating from 1580, they would have disappeared in music written from about 1780 onwards.
“There is one other theorbo player in the country, Uwe Grosser, who lives in Cape Town, and plays in the ensembles there,” adds Davie.
The ARE is now a full instrumental and vocal ensemble consisting of a five-part string section, four-part brass section, four-part wind section, percussion, harpsichord, and Davie on theorbo and baroque guitar.
Born in Durban, but having lived most of his life in Johannesburg, Davie majored in classical guitar and contemporary composition. He also has an Associate Recital Diploma in classical guitar from Trinity College London. “It's an advanced diploma, although there are two more advanced ones,” he says.
At Ñî¹óåú´«Ã½, Davie studied under classical and experimental guitarist Reza Khota (BMus 2000), former guitar lecturer Michal George (BMus 1997), and Malcolm Nay (BMus 1982, MMus 2009), all of whom shaped his musical development.
"Reza was the first guitarist whose classical technique I could observe up close and learn from," he says. "Malcolm's practical advice on music interpretation remains part of both my playing and teaching today."
Reflecting on how he spent his time outside of lectures, he says: “I spent a lot of time practising by myself at Ñî¹óåú´«Ã½, particularly in my third and fourth years, which is the life of a music student. There was one large unused room in the School of Arts, and I would get the key from reception downstairs and then practise in the large echoey space, just putting the time in on my instrument.”
Davie’s collaboration with Golding goes back to when they met on their first day at Ñî¹óåú´«Ã½. “We had a shared affinity for many kinds of music ranging from metal to acoustic guitar music to Bach and Beethoven. Over the years Dillon focused more on guitar whilst I shifted towards conducting, but we did many collaborations at lunch-hour concerts, guitar duets, workshops etc. Whilst we quickly became musical collaborators, we also became friends almost immediately,” says Golding.
A daily dose of music
These days Davie is a versatile fretted instrument musician, music educator and concert promoter. He teaches at Trinityhouse in Randpark Ridge and Little Falls, and Hoërskool Florida.
“It is a good mix of kids and teenagers, and I get to teach a wide variety of music and material, with the contemporary guitar, classical guitar, ukulele, bass guitar, and theory – it is always interesting.” He teaches private students on Saturdays. “I am playing as much as I can in all kinds of ways.”
Beyond ARE, Davie also co-founded the Gauteng Guitar Quartet (GGQ), which was formed in 2024 and now performs in Joburg and Pretoria, focusing on new music either written or arranged for guitar quartet. He also plays in the synth-rock band We Had Plans and the jazz trio Groove Protocol, both formed in 2025. In the recent St Francis Music Festival in Parkview he played in both the ensemble and the quartet, and he has played in the Wakkerstroom Music Festival for the past three years.
Golding says Davie’s contribution to these projects has been consistent and significant. “As an ensemble member, I value Dillon's calm nature, reliability and enthusiasm. Over our years playing together he has really become an exceptional player and can always be relied upon,” says Golding. “He has spearheaded many of the projects that we have completed, including our participation at Wakkerstroom and in the St Francis festival.”
One of ARE’s most exciting collaborations came in late 2025 with world-renowned artist William Kentridge (BA 1977, DLitt honoris causa 2004) and the Centre for the Less Good Idea in downtown Joburg. The production brought together Monteverdi's opera L'Orfeo, Kentridge's animation, and two new compositions by Neo Muyanga. Kentridge was so taken with the theorbo that he invited Davie back to perform at his birthday in February 2026.
Davie has started promoting classical concerts at Glenshiel in Westcliff in late 2025.
“I think the music scene is in a healthier space than it's been in a very long time. There are lots of musicians seeking opportunities to play, but also there are a great many concerts going on all the time,” he says.
“I think we need to inculcate more of a culture of concert going, of taking in live music events. Those events are happening, and are being supported, and I want to see that continue to grow. In an increasingly online world, I think people are craving the authenticity of being at real-life, real-world events.”
Looking back, Davie has fond memories of his years at Ñî¹óåú´«Ã½, where he was also a member of the Ñî¹óåú´«Ã½ Choir for three years: “Just being surrounded by music making and other musicians all the time was great. Getting to go to a lot of concerts, while a student, being exposed to a huge variety of music and performance. It's one of the most valuable things about being there.”
He also remembers his years in the choir with affection: “I enjoyed singing with the Ñî¹óåú´«Ã½ Choir very much. I was head bass (voice section leader) as well. A particular highlight was going on tour to the Czech Republic at the end of 2006.”
He counts himself very fortunate to be able to make music in some way every day of his life, either by teaching and playing with his students, in rehearsal with other musicians, or playing and performing live.
On his ambitions for the future, he wishes for more performance opportunities, in more places.
“I would like to get the opportunity to play in further flung places, I am aiming to go back to Cape Town to perform. I am also hoping to play with various orchestras at some point.”