Online Reporter
Langalihle Mhiti
Zimpapers Entertainment Hub
LOCAL music lovers have been paying tribute to some of Zimdancehall’s biggest stars, crediting them for playing key roles in transforming the genre into one of the country’s most influential musical movements.
A discussion that has been circulating on social media this week highlighted how different artists helped broaden Zimdancehall’s appeal beyond its traditional audience.
The fans agree that each musician opened a unique door for the genre.
Many listeners praised Tocky Vibes for attracting older audiences to Zimdancehall at a time when the genre was largely associated with youthful rebellion.
“Tocky Vibes got the gogo and sekuru crowd tuning in,” one fan remarked.
“His music appealed to people who would never have listened to dancehall before.”
Songs such as Mhai, Amai and Usakanganwa resonated with family audiences because of their relatable themes and melodic style, helping bridge the generational divide and introducing Zimdancehall to households across the country.
Fans also credited Winky D, often referred to as the “Big Man,” for elevating Zimdancehall into the mainstream music space.
According to many music enthusiasts, Winky D’s consistency, lyrical depth and crossover appeal allowed Zimdancehall to compete directly with Urban Grooves, which had dominated Zimbabwe’s youth culture in the early 2000s.
“Winky D took Zimdancehall mainstream and beat Urban Grooves at its own game,” another fan commented.
“He made dancehall acceptable in every setting.”
His socially conscious music and acclaimed albums have earned him respect from diverse audiences, with some supporters describing him as one of Zimbabwe’s greatest musical storytellers.
The fans reflected on the impact of the late Soul Jah Love and Seh Calaz, arguing that the duo captured the realities of life in high-density suburbs and gave township youth a voice.
“Soul Jah Love and Seh Calaz made Zimdancehall the sound of the streets,” wrote one social media user.
“They represented the struggles, dreams and language of the ghetto youths.”
Their energetic performances, street-inspired lyrics and authentic storytelling helped cement Zimdancehall as a cultural force among young people navigating economic hardships.
Even years after Soul Jah Love’s passing, many fans believe his influence continues to shape the genre, with younger artists drawing inspiration from his approach to music and performance.
Others reserved special praise for Freeman HKD, whose romantic songs carved out a space for love-themed dancehall music.
“Freeman gave the lovers their anthems,” one admirer noted.
“He proved that Zimdancehall wasn’t only about hardship and street life.”
However, beyond celebrating the contributions of these artists, fans also used the discussion to call for an end to the constant comparisons that often dominate conversations around Zimdancehall.
“People should stop comparing these artists because they all played different roles,” one fan argued.
“You can’t compare someone who brought grandparents to dancehall with someone who became the voice of the streets. They had different assignments.”
Another added:
“It’s not always about who is the greatest. The truth is they complemented each other.
“Without one piece of the puzzle, Zimdancehall would not be what it is today.”
As the online conversation gathered momentum, one message repeatedly emerged across various platforms:
“They all deserve those flowers.”
For many Zimbabweans, the debate was less about determining who ranks above the other and more about recognising the different contributions that collectively built Zimdancehall into the powerhouse it is today.
Supporters argue that these artists did more than produce hit songs; they shaped identities, united communities and helped write chapters in Zimbabwe’s musical history that continue to inspire future generations.
“They all played their part,” another music lover observed.
“Different artists, different roles, but one legacy.
Zimdancehall grew because each of them brought something special to the culture.”
