Harare Bureau
THE local music scene in Zimbabwe boasts a rich history filled with talented artistes who have captivated audiences both at home and abroad.
While some have achieved local dominance, others have successfully breached international borders, carrying the unique sounds of Zimbabwe to the world stage.
Among these global icons, the late Dr Oliver “Tuku” Mtukudzi stands tall. His soulful ballads, like Neria and Todii, resonated with listeners worldwide, establishing him as a legend.
The late Biggie Tembo’s energetic Jiti tracks, exemplified by Simbimbino, brought a vibrant energy to international music scenes. The Bhundu Boys, known for tracks like Hupenyu Hwangu, expertly blended Zimbabwean genres to create a unique sound that appealed across the globe.
Stella Chiweshe, the late legendary mbira player, was another international treasure. Her music, epitomised by her powerful performances, kept Zimbabwean traditions alive while captivating audiences worldwide.
It is also the same case with Dr Thomas “Mukanya” Mapfumo, whose music needs little or no introduction, within and outside the country’s borders.
However, the story of Leonard Dembo serves as a poignant reminder of unfulfilled potential. His music, a captivating blend of soulful vocals and the driving lead and rhythm guitar rhythms, resonated deeply with locals.
Tracks like Venenziya and Zii Zii showcased his versatility as a songwriter. His iconic song, Chitekete, with its signature beat, became a national anthem. Tragically, Dembo’s untimely demise cut short his ascent on the global stage, though his performance of Chitekete at the 1996 Miss World finals marked a significant moment for Zimbabwean music.
The question of whether Zimbabwe currently boasts a stand-out international music icon remains a topic of debate. While a new generation of talented artistes continues to emerge, capturing the global spotlight can be a difficult feat. Perhaps an artiste will rise to carry the torch of these legends, or maybe the combined influence of these musical giants will continue to shape the sound of Zimbabwean music for years to come.
Among the country’s top singers and crowd pullers at the moment are Alick Macheso, renowned for his pulsating sungura sound; Jah Prayzah, known for his energetic blend of contemporary music and traditional rhythms; and Winky D, a hugely popular reggae-dancehall artiste.
Debate has, however, been on who among them has a better international following. Yes, the singers periodically perform out of the country but in most instances, a huge chunk of the crowd will be Zimbabweans based in the diaspora. Also, the figures they are offered for international bookings are a far cry from what their colleagues — among them Davido, Diamond Platnumz, Burna Boy, Wizkid or even Master KG — charge.
Recent media reports claim Burna Boy, a Nigerian singer, declined a concert worth US$5 million in Dubai after he was restricted from taking marijuana during his visit to the country. It was not the marijuana issue that got netizens busy but the concert figure.
Locals quizzed if any of our local stars would, in such a situation, have the audacity to turn down a million-dollar concert for such a condition.Much still needs to be done to improve our artistes’ ranking abroad.
“Our group has on several occasions toured the United Kingdom, Australia, Dubai, to mention a few places, and our shows have been fairly attended. However, the majority of our fans are Zimbabweans based in the diaspora,” said Alick Macheso’s manager and publicist Tich Makahamadze in an interview.
“The numbers fluctuate when we play abroad. But we are making progress on the international scene, courtesy of our live animated performances.”
Efforts to get a comment from Jah Prayzah and Winky D’s camp were in vain. However, Marcus Gora — who manages the six-member Mokoomba Band — said they have managed to create a healthy fan-base abroad.
“Compared to fellow African singers from countries like Nigeria, Ghana and South Africa, we are still lagging behind. Our international tours mainly attract Zimbabweans abroad. This is despite the fact that we are always outside the country for tours,” said Gora.
Biggie Tembo
A Mokoomba band member who opted not to be named said foreign shows were more of “prestige than profit”. “Our band has more than a decade of experience in international shows but we have nothing to show for it. We are paid peanuts during tours. Actually, when we go outside the country, we are treated like an ordinary upcoming band,” he said.
Revered Zimdancehall music producer Michael “PTK” Murumbi weighed in.
“I have been in the game for a while and travelled to several countries as a producer or accompanying some of the artistes I record. Most of the time we have returned empty-handed. I think that is a clear signal that we do not have many, if any, internationally recognised artistes in Zimbabwe,” said PTK.
“Most of the artistes who travel outside for gigs only do so to enjoy or get a feel of flying. They are not getting any fortune there.”Last year, Zimdancehall chanter Silent Killer — born Jimmy Mudereri — toured the United Kingdom.
The singer’s younger brother Stallone “Ras Lalo” Pangeti said: “We celebrated when he boarded the plane as we considered this to be a major breakthrough for him. However, he still has nothing to show for his hard work. “As we speak, Silent Killer has no permanent residence; he stays with his friends; sometimes you find him at Kagora’s homestead or at Boss Love’s house.”
Givemore Bonde, who is affectionately known as Ndunge Yut, sums it all up. “International tours are not a money-making venture. They are all about vacation, experiencing the other side of life. I went to Poland and Germany last year. In Poland, I performed for about 30 Zimbabweans and seven locals.”
“People think we make a lot of money when we go outside the country but that is not the case.” Sungura singer Mark Ngwazi feels local artistes have a lot to learn.
“I went to the United Kingdom for the first time last year. Our shows were dominated by Zimbabweans based there. I think we need to improve our music marketing in foreign countries so that we improve our reach across borders,” notes Ngwazi.
Rising music producer Gibson Makumbe also shared his thoughts.
“As an industry, we need a collaboration of music producers, promoters and musicians to sit down and find a way to effectively penetrate the international market. I will soon be travelling to South Africa to record local musicians based there but the main challenge is that as music producers, we are failing to create an artiste who can be an international icon yet we have the talent,” he said.
Veteran guitarist, music producer and composer Clive Mono Mukundu opines lack of professional record labels has created the predicament.Record labels in countries like Nigeria and South Africa, he said, are financially sound and have international links that benefit their artistes.
“In Nigeria, a record label can build an artiste from the grassroots until they achieve international stardom. If an artiste is not financially stable, he/she cannot make any meaningful progress,” reckons Mono.
Population density has also been cited as another factor weighing against local artistes. For instance, Nigeria has over 200 million people while Zimbabwe’s total population is around 16 million.
“Nigeria is a big state; an artiste like Burna Boy can easily amass over 50 million followers, which is not easy for our local artistes. Another challenge is on originality. Mokoomba is original; they sing their own Tonga language from Victoria Falls, which makes them unique. You cannot go international copying Nigerian or South African styles,” argued Mono.
However, one thing is certain: the vibrant music scene in Zimbabwe is brimming with talent and determination. With the right support and strategic planning, the future remains bright for Zimbabwean music on the international stage.