Zimbabwe’s music and arts scene is at a crossroads. For years, our industry has relied heavily on nostalgic hits, cover performances, and regurgitated styles that mimic regional and international trends.
However, there is a growing realisation that for our arts to truly thrive both locally and beyond we must champion originality.
The call is clear: Zimbabwean artists must compose, create, and define a fresh sound that not only represents our identity, but also makes us exportable on a global scale.
In recent years, we have seen how originality distinguishes true artistic prowess from mere replication.
The rise of global icons like Burna Boy, Sjava, and Sho Madjozi is not because they copied Western styles, but because they refined and exported their own cultural aesthetics.
In contrast, Zimbabwean music, with a few exceptions, often struggles to break through beyond South Africa or the Zimbabwean diaspora.
Why? Because much of what is produced is either a rehashed formula or an uninspired imitation of established genres from elsewhere.
This must change if we are serious about artistic and economic growth in the creative sector.
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To be truly original is not just about being different; it is about pushing the boundaries of what already exists while remaining authentic.
Creativity is an art form that flourishes when artists take risks experimenting with new sounds, storytelling methods, and performance styles.
The late Chiwoniso Maraire did this with her fusion of mbira and contemporary music. Mokoomba, one of the few Zimbabwean bands that enjoy international recognition, took a bold step by blending Tonga rhythms with Afro-fusion, making them stand out.
Yet, despite these examples, many Zimbabwean musicians still fear stepping outside the comfort zones of sungura, dancehall, or gospel as they have been done for decades.
There is nothing wrong with these genres; in fact, they are the backbone of our music culture.
But they must evolve.
Imagine if our local producers and musicians infused mbira, marimba, and hosho into hip-hop, Afro-tech, or house music building a truly unique "Zimbabwean sound" that the world would recognise instantly.
This is where true artistic prowess lies: in taking cultural roots and stretching them beyond the predictable, beyond what has been done before.
A major issue Zimbabwean musicians face is that their market remains largely local or confined to the diaspora.
While the diaspora is an important consumer base, it is not enough.
Many artists fall into the trap of only catering to Zimbabweans in South Africa, the UK, or the US, where familiarity with the music is already established. But how do we move beyond this?
The answer lies in creating a sound that transcends nationality while remaining rooted in Zimbabwean identity.
This is how Fela Kuti’s Afrobeat, Amapiano, and kwaito became globally recognised genres. They weren’t targeted at a niche audience; they were built to resonate with a wider, international crowd.
For Zimbabwean artists to achieve this, they must prioritise quality production, international collaborations, and a clear brand identity.
A lack of originality has kept us stuck in a cycle where we produce content only meant for our own people, limiting global appeal.
Instead of merely copying what South African, Nigerian, or Western musicians are doing, we should be fusing our rich traditional elements with modern soundscapes to create a signature exportable brand.
One of the biggest obstacles to artistic growth in Zimbabwe is not a lack of talent, but a toxic culture that hinders creativity.
Instead of embracing innovation, we have developed a culture of endless complaints and misplaced criticism.
Social media is awash with armchair critics who do nothing, but tear down artists without offering solutions or genuine support.
How many times have we seen people say, “Zimbabwean music is dead” or “There is no talent anymore,” while failing to acknowledge the countless underground artists producing innovative work?
How many self-proclaimed “music experts” spend their time dissecting what went wrong with an artist’s career instead of amplifying the work of emerging musicians?
This culture needs to change. Instead of endless critiques, we should be fostering an environment that encourages originality.
If a young artist experiments with a new sound, they should be met with constructive feedback rather than dismissive negativity.
Creative spaces should be spaces of growth, not battlegrounds for who “knows the industry” better.
A recent directive from the Zimbabwe Music Rights Association (Zimura) requires cover bands to pay a fee of US$150 to register their performances.
While this regulation has been framed as a way to protect the rights of artists and ensure that their work is compensated, it has become a point of contention for many in the industry.
On the one hand, Zimura's efforts to safeguard intellectual property are commendable; the music industry is rife with piracy and unauthorised use of copyrighted material, and measures like these are crucial for creating an ecosystem where artists are rewarded for their work.
However, the imposition of a US$150 fee for cover bands is an onerous financial burden on many struggling musicians, particularly in a country where the cost of living is high and revenue from live performances is inconsistent.
For many emerging artists, this fee feels like another barrier to entry in an already challenging industry.
Cover bands, often a stepping stone for young musicians to hone their skills and gain experience, could be disincentivised by this new fee.
Rather than encouraging them to perform and develop a unique sound, it may instead push them into performing only safe, profitable genres.
On the flip side, the directive could push musicians to be more original.
By limiting the space for cover bands, Zimura could force artists to focus on creating original content, thus encouraging the growth of new, innovative Zimbabwean music.
It may also encourage the industry to adopt international best practices in music rights management, improving the financial sustainability of Zimbabwean artists in the long run.
Ultimately, the US$150 fee could serve as a catalyst for the industry to evolve, promoting originality and ensuring that artists’ rights are respected.
However, this development should be balanced with greater investment in the local music ecosystem training programmes for artists, accessible avenues for promotion, and more diversified live performance opportunities.
Without these, the fee may become another burden for an already struggling industry.
Zimbabwe is brimming with hidden talent that is waiting to be tapped.
The rural areas, townships, and smaller cities have incredible singers, instrumentalists, and composers who are sidelined simply because they lack access to mainstream platforms.
Initiatives like music competitions, talent showcases, and mentorship programs should be widely encouraged to ensure that fresh voices are continuously brought into the spotlight.
More importantly, established artists should make it a priority to uplift upcoming musicians.
Instead of gatekeeping opportunities, they should be collaborating, featuring, and mentoring the next generation. This is how lasting legacies are built.
The Zimbabwean arts industry is at a crucial point. We can continue regurgitating old formulas, complaining about a lack of originality, and limiting our market reach, or we can actively work toward a new era of creativity, innovation, and global recognition.
Artists must embrace originality and break away from comfort zones. Critics must shift from being overly negative to becoming supportive.
Venue owners must take the responsibility of diversifying their entertainment lineups. And above all, as consumers of Zimbabwean music, we must demand and celebrate originality.
- Raymond Millagre Langa is a musician, poet, orator, independent researcher and founder of Indebo edutainment Trust. You can follow on Facebook @Millagre Ray Langa, on X you can follow on #Millagre Langa, email. millagrepapito@gmail.com or indebotrust@gmail.com.
