Online Reporter
Mthabisi Tshuma
THE music plays on, but the cost is escalating. This is the stark reality for local musicians, who are voicing their concerns over the soaring music licensing fees that threaten to silence their performances. From cover bands to solo artistes, the new charges are striking a discordant note, prompting the question: is the price of performing becoming prohibitively high?
Many musicians rely on performing cover songs for their livelihoods, but the increased fees are making it increasingly difficult to break even. The licensing fees, intended to compensate songwriters and publishers, have risen sharply in recent years, leaving many feeling priced out of the industry.
The impact of these increased fees is being felt across the local music scene, with numerous venues and festivals struggling to remain financially viable.
As the Zimbabwe Music Rights Association (Zimura) faces accusations of stifling artistes’ livelihoods, the National Arts Council of Zimbabwe (NACZ) has intervened, initially demanding the revocation of the charges.
However, the situation remains unresolved.
Zimura maintains that it does not report to NACZ, while NACZ asserts its position as the regulatory body under which Zimura should be registered.
This dispute arose shortly after a meeting with stakeholders, which many had hoped would lead to a resolution.
Artistes now find themselves caught between two regulatory bodies, required to comply with both NACZ for artistic regulation and Zimura for royalty benefits.
Saturday Leisure spoke with Zimura, NACZ, and artists to gain insight into their perspectives on this contentious issue.
Zimura’s executive director, Polisile Ncube-Chimhini, confirmed that the charge remains in place and that they are in the process of engaging stakeholders on related matters.
“The meeting addressed the US$150 fee, the calculation methodology, the issue of venues paying for blanket music licenses, the regional and international practice of venues, rather than cover bands, paying licensing fees, and the possibility of reducing the US$150 fee.
“Our response was that the US$150 fee was calculated based on feedback from our survey, which considered the average number of songs performed and hours played by cover bands, their weekly performance frequency, and their average earnings per event.”
Regarding blanket licenses paid by venue owners, Ncube-Chimhini clarified that the licenses do not cover live performances.
“A blanket licence grants permission to play local, regional, and international repertoire, but it does not extend to live performances. Concerning the venue owner’s obligation to pay the licence, we referred to the provisions of the Copyright and Neighbouring Rights Act Chapter 26:05, which clearly outlines the infringement of copyright and the obligation to pay for the Zimura licence. As for reducing the tariff, we emphasised the need to consult with the rights holders whose music is performed by cover bands.
“We have initiated this consultation process, and some have suggested meeting with Mr Nyanhi, the NACZ CEO, before our final meeting with stakeholders at NACZ. The majority of those consulted so far consider US$150 to be a reasonable fee. Compliance has begun, but enforcement needs to be intensified in major towns,” Ncube-Chimhini said.
Mubu argued that Zimura’s proposal, while well-intentioned, disregards Zimbabwe’s socio-economic realities and global copyright norms.
“Without transparency, tiered pricing, and technological upgrades, it risks suffocating the very industry it aims to protect. We need policies that respect both creators and performers. Currently, this fee feels more like policing poverty than protecting art,” Mubu said.
Edith WeUtonga described the licensing structure as ill-conceived and detrimental to musicians’ ability to perform.
“Most young musicians learn by performing covers, and their earnings do not justify a US$150 fee per gig per band.
In an economy that is particularly challenging for musicians, penalising them for performing covers is not the solution,” WeUtonga said.
Sarah Dee suggested that Zimura is implementing this initiative to encourage artists to perform original material, as copyright protection is required.
“The issue is the rushed implementation. This should have been introduced when the industry was more stable. They should focus on collecting and distributing royalties fairly. How can they justify demanding US$150 per show when I received only US$20 in royalties from 2007 to 2024? This is unfair and provokes artists who are already struggling,” she said.
Dr Lux said there is a need to return to dialogue and educate artistes about the Copyright Act to prevent such issues.
Ronald Stone, leader and vocalist of Band of Misfits, described the fees as “absurd.”
Thandoe of The Travellers Band said that they have no objection to paying fees, but the amount is disproportionate.
“We are willing to pay, but it must be fair. We earn around US$250 per restaurant gig, and paying US$150 leaves little for transportation, sound equipment, and band member fees. In this scenario, we would be working solely to benefit Zimura,” Thandoe said.
Pablo Nakappa, a jazz, reggae, and bass player who has worked with artistes such as Winky D, Dumi Ngulube, Afrika Revenge, Cello Culture, and Transit Crew, said the fees must be justifiable.
— @mthabisi_mthire
