Online Reporter
Prince Mushawevato
WITHOUT doubt, the urban grooves movement was a trailblazing force that captivated listeners across generations.
Decades after these youthful pioneers first hit the market, their music continues to resonate with audiences.
Their compositions — both lyrically and rhythmically — were fresh, inspiring and left a lasting imprint on the local soundscape.
Indeed, those timeless tracks still carry the same intensity today as they did at the turn of the millennium.
Who can forget the mesmerising effect of the late Jamal and Betty Makaya’s smash hit “Kurwizi” or the twins Roy and Royce’s “Handirege”?
Tracks such as “Wadarirei” by Plaxedes Wenyika and “Seiko” by Leonard Mapfumo and Rockford “Roki” Josphats also stand as pillars of that golden era.
Driven largely by the Government’s insistence for 75 percent — and later 100 percent — local content, this generation of artistes did not disappoint.
Each performer delivered a unique dose of “musical therapy” that healed the soul and reinvigorated the senses.
Sadly, only a few of these pioneers remain active in the music industry today.
Most have moved on to pursue other interests at home or abroad, while others have tragically passed away.
Among those still active — and commanding even greater influence than before — is Alexio Kawara.
At one point, Kawara seemed to have faded from the spotlight, but through hard work and resilience, he regained his prominence.
Speaking with the Afro-fusion singer, one quickly notices the composure and integrity that now define him.
In an interview with The Sunday Mail Entertainment, Kawara revealed that his brief hiatus from the music scene was a vital “soul-searching” mission.
“When I transitioned, it was basically to work on myself and become a better person. The transition is still ongoing and is eye-opening. I believe there are many things we miss in life if we are not careful about how we live,” he warned.
Kawara began his musical journey in 1999 and rose to stardom after the turn of the millennium with hits like “Shaina”, “Tinodanana”, “Chihwandehwande” and “Chibvugubvugu”.
However, about a decade ago, he was involved in two separate car accidents on the same night, leaving him severely injured and unable to perform for months.
The aftermath of that difficult period fundamentally changed his life.
“The time I spent in silence was a period of self-discovery, guided by God. It was then that I realised music is purposeful for me. I have a reason for singing — it is not simply because I want money, but because I am changing lives through music.”
Though Kawara has been a devoted Christian and minister since 2020, he says he does not categorise himself as a gospel singer.
“I have maintained the identity I had before. Even on my earlier albums, I included gospel tracks and I did those before I was born again. My music has not changed. Becoming a Christian does not necessarily mean you must exclusively sing gospel music; it simply means you are establishing a relationship with God.”
Much of Kawara’s repertoire leans into themes of love, which perhaps explains his strong following among women.
In fact, there is a common joke that if one wants to see beautiful, classy ladies gathered in one place, a Kawara gig is the place to be.
“I notice the people I perform for are particular about the venue; they want spaces that are safe and not overcrowded. They want to come, sit, eat and dance freely,” he said.
His shows, which have evolved significantly since the early “Kuchina” days, reflect this philosophy.
“My music has always been about positivity in marriages, hope and love. When I see something wrong in a relationship, I sing about it in a way that provides a lesson on why those behaviours are harmful.
“I think I am now more intentional about my songwriting because I understand my purpose. For instance, through our forthcoming totem-themed concert, ‘Mhofu Dzichifara Mudanga’, we are trying to promote happiness within families and, ultimately, the nation.”
The July 3 concert will celebrate culture, heritage and artistes who proudly represent the Mhofu totem.
Kawara’s last studio project, “Tagarisa”, was released towards the end of last year.
Prior to that, he dropped the gospel track “Hatitye”, which encourages people to remain fearless as long as they are committed to God and living righteous lives.
Looking ahead, the singer has lined up four new singles and accompanying videos, to be released in phases between late July and December.
Three of these — “Far Away”, “Ndokekutanga” and “I Don’t Care” — are love songs, while “Gundere”, which has a jiti flair, addresses the difficult subject of divorce.
“I have finished working on them,” he revealed.
“I am hoping to reconnect with a broader fan base through this new music. We will also re-engage with fans on a bigger stage on July 3 . . . , alongside my brothers and sisters in music, including Victor Kunonga, Dhadza D, Tariro neGitare and Selmor Mtukudzi. Fans still love my yesteryear hits, and that is exactly what I will be performing.”
Reflecting on his career, Kawara admitted that his music hiatus slowed his momentum. Without a deep-seated passion for music, he reckons he might have retired prematurely.
“Music is my main source of income, so that brief break affected me financially and impacted my fan base. I ended up diversifying into the meat business, which was not my passion. When I stopped playing music, I maintained some supporters while others moved on. I have had to work extra hard for them to regain trust in the brand, and it is working.”
The singer remains in touch with contemporaries from the urban grooves era, including ExQ, Roki, Ba Shupi, Tererai, Ngoni and Leonard Mapfumo.
He continues to perform across the country, noting that shows in northern suburbs often draw larger crowds.
“I have frequently performed all over — Beitbridge, Zvishavane, Masvingo and Harare. However, I have noticed that my shows on the other side of Samora (in the northern suburbs) tend to have better attendance. Regardless, when I have a major event like ‘Mhofu Dzichifara Mudanga’ on the horizon, I scale back my personal gigs to ensure there is enough spacing, which helps avoid saturation, monotony and, ultimately, boredom for the audience.”
His manager, Roy Zuka, who has worked with him since 2008, admires Kawara’s grit and resilience.
Zuka transitioned from sound engineer to manager in 2015, describing their partnership as one built on trust, dedication and a shared passion for music.
“It has been a rewarding journey watching his growth while contributing to his success and the development of Zimbabwean music. Working alongside veteran promoter Josh Hozheri on various projects has also made the journey very smooth,” he said.
Hozheri, founder of 105 Promotions, equally praised Kawara’s humility and dedication.
“His work speaks for itself. I have never had an issue since I started working with him years ago. I know he values his Mhofu totem, and he was among the first names that came to mind when I was planning this unique concert (Mhofu Dzichifara Mudanga). It is going to be a one-of-a-kind presentation.”
