Zimbabwe’s music industry is filled with incredible talent, but beneath the surface, there lies a harsh reality: despite decades of hard work and international recognition, many of the country’s musicians continue to struggle financially. Legends like Alick Macheso, Tongai Moyo, and Nicholas Zakaria, who have dedicated their lives to crafting music that resonates with millions, still face the daily grind to make ends meet. This raises a critical question: why is it that after years of success, these musicians are still not financially secure? Why are their children, like Alick Macheso’s sons, being forced to continue in the same industry, not out of passion, but out of necessity?
While we celebrate the legacy these artists have built, we must also confront the uncomfortable reality that the music industry in Zimbabwe is not set up to reward the hard work and talent that these musicians contribute. For generations, the industry has failed to offer the financial stability that should be a basic right for anyone who has spent decades building their career. Instead, musicians are stuck in a cycle of under compensation, unable to break free from the very industry they helped to shape.
In Zimbabwe, the children of musicians often feel compelled to follow in their parents’ footsteps, not because they have a burning passion for music, but because it’s the only path they believe will provide them with financial security. Alick Macheso’s sons, for instance, have recently been lauded for continuing their father’s legacy in music. But one has to wonder: if their father had been properly compensated for his hard work, would his children be stepping into the same industry, struggling to make ends meet?
Looking at the global stage, the contrast is stark. The children of wealthy musicians, such as Michael Jackson’s offspring, enjoy the luxury of choosing their own careers without the burden of financial pressure. These children explore their passions, whether in music, acting, or other fields, without worrying about the financial security that their parents left behind. But in Zimbabwe, children of musicians like Tongai Moyo and Nicholas Zakaria often have no choice but to continue in the same industry, where the financial rewards are not commensurate with the sacrifices made.
Another alarming issue is the exploitation of musicians by promoters, who profit off their hard work while the artists receive a mere fraction of the rewards. There have been instances where promoters create flashy videos for musicians, upload them to platforms like YouTube, and make significant revenue through views and advertisements, yet the artists involved see very little of the money generated. This type of exploitation is unfortunately common in the industry, where promoters and other middlemen control the income flow, leaving musicians with only a fraction of the profits.
In an ideal world, musicians should have full control over their work and the ability to negotiate fair deals that ensure they are compensated adequately. But many musicians in Zimbabwe are not equipped with the knowledge or resources to protect their interests. This leads to an imbalance where the promoters and other stakeholders reap the rewards while the artists are left struggling.
The solution lies in unity and awareness. Musicians in Zimbabwe need to come together and form stronger associations, unions, or collectives that can advocate for their rights and push for fair compensation across the industry. By educating themselves about their financial and legal rights, musicians can protect themselves from exploitation and start demanding better deals with promoters, managers, and other industry players.
It is high time that the music industry in Zimbabwe is restructured to ensure that artists receive the financial rewards they deserve. The industry needs to offer long-term support for its talent, not just fleeting fame and exposure. If musicians are properly compensated for their work, they can build the financial foundations that will allow them to pass on a comfortable legacy to their children—one that gives them the freedom to pursue their own passions, without being shackled by the need to follow in their parents’ footsteps.
The time for change in Zimbabwe’s music industry is now. The industry must evolve to become one that sustains its artists both creatively and financially. The struggles of Alick Macheso, Tongai Moyo, Nicholas Zakaria, and many others should not be in vain. Their hard work should not only be remembered in the form of legacy, but also in the wealth they created for themselves and their families. By coming together, advocating for fair compensation, and demanding systemic change, Zimbabwe’s musicians can finally build an industry that supports them long into their careers—not just for today, but for future generations.
