Born into a musical family in a little fishing village at the southernmost tip of Africa, Lynne started playing classical piano at the age of six. One of five children, all who studied music, the house was always a cacophony of sound. As a child, she would immerse herself in classical music, daydreaming to the sounds of Chopin, Grieg and Beethoven. She felt the music was her teacher, her parent, her nurturer and this curious connection with the masters existed at a very young and tender age.
Lynne showed a special gift when the first piano appeared in her home at the age of five. She would sit down and play whatever she heard, to the extent that when she was studying to be a concert pianist at the University of Cape Town her professor banned her from listening to other great performers. Lynne would mimic them after one listen. This is a practice that Lynne continued as a composer, not listening to other musicians so as to maintain the integrity of her own expressive ability and voice as a composer.
She won many awards growing up, appearing as a soloist pianist with the South African National Orchestra at the age of 13. She went on to study under the renowned professor, Lamar Crowson at UCT. Her final recital as a soloist at UCT was received with a standing ovation from the dean of the faculty, lauding her as the best pianist ever to come out of South Africa.
However, this vote of confidence was not echoed in her home environment. Lynne’s father, in a drunken fit threw Lynne onto the street a few days after graduating with distinction. Having grown up in a troubled home with violence and alcoholism, circumstances did not allow Lynne to continue her performing career. After her studies she gave up performing and found a new path of introspection through musical composition. She studied composition for brief periods under Professor Zeidal Rudolph and Professor Tommy Rajner.
During her marriage and raising children, Lynne would sneak into the garage and produce original compositions in the middle of the night when her children were sleeping. In 1999, she plucked up the courage to mix one of her tracks in a professional recording studio. She made a demo using her own voice. Her shyness being an obstacle, she used to send the engineer out whilst recording vocals. One of her songs was heard on the back end of someone else’s recording that was sent into a competition. The well-known manager of Shakatak and record label owner of Passion Music London, Les Mccutcheon was blown away by what he heard. He offered a recording and distribution deal through Passion Music London.
Sands of Time, Lynne’s debut album was born, with distribution worldwide from the UK. Her hit song, San Song, with Indigenous people’s samples, stayed on the top twenty charts in South Africa for 3 months. She had no desire to perform, but rather to continue to record and produce music. With her love of music therapy and deep understanding of the power of music, she continued to produce and write music for healing and meditation. It was only after a long drawn out divorce, she finally met her life partner, Yusuf Ganief.
In 2008 Lynne was launched back into the limelight with a performing career began once again. After the success of their first album, The Prayer, the demand for them to perform was so great, Lynne returned to the stage with Yusuf in a debut performance to five thousand people in Cape Town.