Artist Management in Zimbabwe
Keynote Address: Music Management in the Zimbabwean Context
by Diana Elisha Nheera
My brothers, my sisters, my fellow dreamers, and creators
We stand at a critical moment, where Zimbabwean music isn’t just a wave—it’s a tsunami about to crash on global shores. The question is not “if” we will break through, but ”when?” And the answer, my friends, is “right now!” This is the time to take charge of our destiny, to own our narratives, and to claim our place on the world stage.
Today, as we discuss ‘Music Management in the Zimbabwean Context,’ I want to issue a challenge to each of you. Whether you’re an artist, a manager, a promoter, or simply a lover of Zimbabwean music, this is our rallying cry. The world is listening, and we must make them feel the heartbeat of Zimbabwe. From the streets of Harare to the hills of Matopos, from Mutare to Plumtree—our music tells stories that can shake the world.
The Power of Legacy: Tuku, Souljah Love, Alick Macheso, Mokoomba and Winky D.
Before we charge forward, we must salute those who have carried the torch, blazing trails for us to follow. Oliver Mtukudzi—Tuku— wasn’t just an artist; he was a storyteller, a cultural ambassador. Tuku taught us that music is a healer, that in the most difficult times, the soul of Zimbabwe can be found in song. His music management was built on authenticity, on staying true to the sounds of our soil while reaching hearts far beyond our borders.
Then we had Souljah Love, the “Chibaba.” His was a voice from the streets, a raw reflection of the struggles, the pains, and the joys of everyday Zimbabweans. His music reminded us that you don’t have to come from wealth to make your voice heard—you just need heart, passion, and a manager who knows how to amplify that voice.
We are gifted with Baba Alick Macheso, a giant who has served through the generations and mentored many a giant too after him. With Zimbabwe’s favorite genre, SUNGURA, a pure art of local sound and mouth-watering guitar blends, deep vernacular (Shona, Chewa/Nyanja) lyrics and vocals of masters. His Management has deftly manoeuvred from Analogue to Digital production, from live band to concept music videos and then all the way to Social Media age with impressive numbers to show and that is no small feat.
Mokoomba is a torch bearer endowed with vibrant rhythms, infectious guitar riffs and powerful vocal harmonies showcasing the rich cultural heritage of the Tonga people. They boast of mastery of an array of languages: Tonga, Shona, Luvale, Ndebele, English. Their management has pivotally positioned them on overseas trails where they are much appreciated for their unique blend of traditional Tonga Music with modern styles such as afro fusion, afro pop, world music and ska. The repeat business they enjoy shows a well thought out pattern allowing them to serve markets away and back at home alike.
And of course, Winky D—the Gafa. He isn’t just a musician, he’s a movement. Winky D’s career has been a masterclass in reinvention and longevity, proving that if you manage your brand well, you can not only stay relevant but reign supreme. Winky’s ability to speak truth to power through music has made him a legend, and his success shows that powerful messaging paired with strategic management can make an artist untouchable.
Other names include Leonard Zhakata, Tanga Wekwa Sando, ExQ, Trevor Dongo, etc
The New Generation: Nutty O, Voltz JT, Feli Nandi and Saintfloew
But let’s not just talk about the legends. The new wave is here, and they’re bringing the heat. Nutty O has shown us what happens when you take dancehall and fuse it with global sounds. His management has helped position him not just as a local star, but as a continental and global global force. Nutty O reminds us that in this digital age, the only limits we have are the ones we set for ourselves. The Man dubbed himself Africa’s finest when all the stages he had experienced were the passa passa makeshift platforms on the dusty backyards of kuma Flats. The vision was always clear. And time, tireless effort, resilience and fearlessness has delivered all the many dreams of then into realities of now. Big National Awards, Remarkable regional and continental synergies, Giant International Collaborations with the current ultimate being with the Carribean Giant his self, Bob Marley posthumously.
Voltz JT, the voice of the youth, is creating a new sound, Jecha Trap, a new energy that speaks directly to Zimbabwe’s future leaders and the baby boomers alike to be honest. His rise wasn’t an accident; it was built on understanding his audience, mastering digital platforms, and, most importantly, staying true to the message. His management team has helped him build a brand that resonates deeply with young people across the country, showing us that when you manage with purpose, you build a fanbase, not just a following.
Feli Nandi a contending force contributing with soulful vocals in Afro-Jazz and traditional Music. Her Management has grown through a highly male dominated landscape and authoritatively secured a seat for her on the table of lineups home and away. Feli is not just a Musician but testament that with deliberate effort, the sky is the beginning and a Zimbabwean Female Musician can soar on high.
Then there’s Saintfloew, who is changing the game with his lyricism and storytelling. He is proving that the new generation of Zimbabwean artists can be poetic, socially conscious, and commercially successful at the same time. Saintfloew’s rise is a testament to the power of smart management, positioning him to break barriers we never thought possible.
Other noteworthy names include but are not limited to Tamy Moyo, MJ Sings, Holy Ten, Kay Flow, Noluntu J, Celscius, Mandy Ahwee, Atenda Chinx, etc
The Architect of Success: Jah Prayzah
And we cannot talk about modern Zimbabwean music without mentioning Jah Prayzah. His career is an anthem of how far management, vision, and relentless determination can take you. Jah Prayzah didn’t wait for the world to come to him; he went to the world. His collaborations with African heavyweights like Diamond Platnumz and Davido have shown that with the right strategy, Zimbabwean artists can not only stand shoulder to shoulder with Africa’s finest but lead the charge.
His management team built a brand that is bigger than any one song, bigger than any one album. Jah Prayzah is now a cultural institution, a symbol of what happens when talent is backed by solid management, clear vision, and bold moves. His tours, his music videos, his collaborations—they all speak to a well-managed career that isn’t afraid to take risks.
Allow me, for the sake of time to put in one bracket the Gospel Music Icons from the long serving Baba naMai Charamba, the Mahendere Brothers, the Deuchels, Tembalami who are living legends to all the newer names who have kept that terrain active with chart topping bangers and the most organised and well attended live performances in the country and beyond. Management has played a crucial role in taking the gospel music from being just church music to taking up space in the Arts landscape and we have seen Janet Manyowa domineering in the awards for a number of years taking Most Outstanding Female Musician as well as enjoying seamless brand partnerships with some corporates.
The Rallying Cry: It’s Our Time
Zimbabwe, let me tell you this—we are no longer on the sidelines of African music. We are the center. Our sound, our stories, our culture, is the next big thing. But it won’t happen by accident. It won’t happen if we just sit back and wait for someone else to do the work. This is a call to action.
We need managers who see the vision. We need managers who understand that being a manager isn’t just about booking gigs or signing contracts—it’s about building a legacy. It’s about taking risks, being bold, and pushing our artists to think globally while staying rooted in their Zimbabwean identity.
We need artists who are not afraid to push boundaries. Our artists must understand that their music is more than just entertainment—it’s a business, it’s a brand, it’s a voice that can shape the future. When you look at Winky D, Jah Prayzah, Nutty O, Voltz JT, and Saintfloew, you are seeing what happens when talent meets vision, when dreams are supported by solid management, and when authenticity is never compromised.
And we need fans who understand that supporting Zimbabwean music isn’t just about liking a post or streaming a song. It’s about creating a movement. It’s about standing behind our artists and showing the world that Zimbabwe has something to say—and they better be ready to listen.
Conclusion: Rise Up, Zimbabwe Music!
In closing, I want you to remember this—Zimbabwean music is a revolution. We come from a land of warriors, from a land of storytellers, from a land where music has always been more than just a beat, more than just a melody. It is our voice. It is our power. It is our future.
We stand here today not just to talk about music management but to ignite a fire. To remind you that in the spirit of Tuku, in the energy of Souljah Love, in the innovation of Winky D, and in the boldness of Jah Prayzah, Nutty O, Voltz JT, and Saintfloew, we have the tools to conquer the world.
In the words of Kanye West, “We’re not just trying to survive; we’re trying to thrive.” Zimbabwe, this is our moment to thrive. To take our rightful place on the global stage. To be unapologetically bold. To be brilliant. To be Zimbabwean.
So I leave you with this: Rise up, Zimbabwe Music! Our music, our culture, our stories—they are the light that the world needs. Let’s go out there and show them what Zimbabwe is made of.
Let’s make history
Thank you.
Diana Elisha Nheera 17.Oct.24
