Online Reporter
OVER the Easter holidays, there was widespread news that popular Zim dancehall artiste, Silent Killer chickened out of his scheduled trip to the United Kingdom despite checking in at the Robert Gabriel Mugabe International Airport.
There was even a press conference held in the UK where it was alleged that Silent Killer locked himself in a toilet at the airport because he had dreamt of their plane crashing.
The claims triggered social media frenzy as people questioned Silent Killer’s state of mind and some even went as far as blaming drugs.
Stung by the social media attacks, Silent Killer sought to clear his name and grace a podcast where he came out guns blazing.
He denied the claims that he locked himself in the toilet.
In an interview with Zimpapers Entertainment Hub, Silent Killer claimed that the deal for his performance was made through a rival musician, Blot’s manager without his direct involvement.
Silent Killer, who is currently without a manager, stated that the agreed-upon amount of $2000 was too low, considering he charges $1500 for local gigs.
He also argued that he was not at the same level with Blot and, as such, deserved a higher performance fee.
He emphasised that he was not part of the negotiation and was not satisfied with the offer.
He also revealed that Y2K Promotions, the organisers of the event, owe him money, which contributed to his decision not to perform.
Silent Killer seems to have recovered lost ground following a trending interview where he explained the situation.
Meanwhile, the Silent Killer incident highlights the problems that exist where Zimbabwean promoters based abroad engage Zimbabwean-based artistes for foreign shows with the most popular destinations being South Africa, UK, Australia and the US.
It is an accepted reality that in recent years, the global Zimbabwean diaspora has increasingly played a key role in promoting and showcasing Zimbabwean musical talent beyond national borders.
But while this has opened doors for artists and broadened their audiences, it has also exposed a worrying lack of transparency—particularly regarding performance fees—when local artists are engaged by Zimbabwean promoters based abroad.
It is no rocket science that the music industry thrives on mutual respect, trust, and professionalism.
This is what we see when the world’s mega stars go on world tours. They make their demands well in advance and do not hesitate to pull out if those are not met.
Yet, there are mounting reports of Zimbabwean artists being shortchanged, misled, or left in the dark about how much they are worth and how much is being made in their name.
Some of the promoters control the financial narrative, pocketing significant sums while offering artists a mere fraction of what is due, something which is exploitative and unjust.
Artists, especially those living and working in Zimbabwe, frequently accept foreign show deals with limited bargaining power. In many cases, they are not privy to event budgets, ticket sales, or sponsorship arrangements—despite being the main attraction. This imbalance creates an environment ripe for exploitation, tarnishing the integrity of both the promoters and the industry at large.
Like Silent Killer highlighted, artistes should be empowered to ask questions, negotiate fairly, and receive their dues—both financially and in terms of respect.
