Moffat Mungazi
Lloyd Makonya
Correspondent
A GROWING rift in Zimbabwe’s entertainment industry caused by the Zimbabwe Music Rights Association (ZIMURA)’s controversial US$150 per event licencing fee for cover bands reached a crescendo when Government through the Ministry of Justice, Legal and Parliamentary Affairs stepped in to direct ZIMURA to suspend its controversial licencing tariffs for cover bands.
This decisive Government intervention followed weeks of public outcry, sparking necessary conversations about the future of copyright enforcement, the economic survival of musicians, and the role of collective management organisations (CMOs) in balancing the rights of creators with the needs of performers and sponsors.
The controversy stemming from ZIMURA’s proposed licencing regime for cover bands, coupled with a demand that event sponsors remit 30 percent of total sponsorship revenue to ZIMURA as payment for copyright licencing seem to have struck the wrong note.
ZIMURA was hell bent on enforcing this policy with vigour, sending formal notices to sponsors like Ecobank Zimbabwe, warning of potential joint liability in copyright infringement if these obligations were not met.
In a letter dated March 28, 2025, ZIMURA’s head of licencing, Servious Matiza, wrote to Ecobank Zimbabwe: “As a sponsor of these events, your organisation may be jointly liable for copyright infringement if the necessary permissions are not obtained. To avoid this, we require that 30 percent of your sponsorship be allocated towards obtaining the necessary licences and paying royalties to the copyright holders whose music will be exploited during the event.”
The letter to Ecobank Zimbabwe came in the build-up to the 5th edition of “Legends Night,” a popular live event of cover songs by Zimbabwean legends hosted by the youthful and vibrant InTotal Band, led by saxophonist, Joseph ‘Jose Sax’ Chinouriri.
Ecobank was the platinum sponsor of the event, held at the Harare International Conference Centre (HICC).
The timing of ZIMURA’s demand cast a shadow over preparations, threatening to derail an event that had become a mainstay on Harare’s entertainment calendar over the last four years.
Commenting on Facebook, award-winning playwright, Raisedon Baya, said: “30 percent of sponsorship to go to them??? Nonsense.”
ZIMURA’s enforcement tactics were widely criticised as punitive and economically detached.
Prominent musicians and producers, including Mono Mukundu, denounced the levy as unreasonable, especially given the struggling economic conditions that most cover bands face.
“Most cover bands are struggling to make ends meet, and ZIMURA’s demands are unrealistic,” Mukundu noted.
His views resonated with many artistes who argued that, while compensating original composers is essential, the current approach risked suffocating the very performers who bring Zimbabwean and global music to life on local stages.
Amid the growing discontent, Government acted.
On April 4, 2025, the Ministry of Justice, Legal and Parliamentary Affairs through the Chief Registrar of Deeds, Companies, and Intellectual Property, Willy Mushayi, wrote to ZIMURA, instructing an immediate suspension of the new licencing tariffs.
In a strongly worded letter, Mushayi made it clear that the Copyright Office, which regulates CMOs in Zimbabwe, had not yet approved any tariffs for 2025.
“It has come to our attention as the Regulator of Collecting Societies registered in Zimbabwe, according to the Copyright and Neighbouring Rights Act (Chapter 26:05), that you are directing cover bands and third parties to pay a licence fee of US$150 and 30 percent of total sponsorship to your organisation. Please note that the Copyright Office is still ceased with the approval of all CMO tariffs for the year 2025 and the 30 percent remittance to ZIMURA is unprecedented.”
He continued: “Henceforth, in terms of Section 111 of the above Act, you are hereby directed to suspend the levying of the above cited tariffs until a determination has been made by the Regulator in consultation with all relevant stakeholders.”
This intervention enabled the Legends Night to proceed at the HICC last Sunday, with overwhelming attendance, bringing temporary relief and momentarily restoring harmony within the sector.
But the deeper issues remain, at the heart of the conflict lies a fundamental tension between the need to protect intellectual property and the realities of Zimbabwe’s live music culture, where cover bands are both cultural contributors and economic survivors.
These bands perform renditions of popular music to earn a living, entertain audiences, and celebrate Zimbabwe’s rich musical heritage.
ZIMURA’s intentions to ensure original artistes receive fair compensation are commendable.
But many artistes feel the proposed licencing regime seems punitive to cover bands, which are a popular phenomenon across the globe. Globally, CMOs like ASCAP (USA), PRS for Music (UK), and SAMRO (South Africa) adopt licencing frameworks that strike a fair balance.
Typically, public performance licences are obtained by venues or event organisers through blanket licenses.
These licenses cover a wide range of performances and allow music to be played legally in public without burdening individual performers.
The recent standoff between ZIMURA and the entertainment sector underscores the delicate balance between rights protection and creative freedom.
While original creators deserve to be paid for their work, the road to equitable compensation must be paved with consultation, transparency, and fairness.
Zimbabwe’s vibrant music scene enriched by both original artists and cover bands deserves policies that nurture rather than suppress it.
The suspension of ZIMURA’s tariffs offers, not just a pause, but a chance to rethink, reimagine, and rebuild a copyright regime that works for everyone.
Only through collaboration can Zimbabwe strike the right chord in its journey toward a thriving, inclusive, and sustainable music industry.
Zimbabwe now finds itself at a crossroads.
Government’s decision to halt the controversial levy opens a window for constructive engagement.
ZIMURA, as the nation’s principal CMO, must now reposition itself as a unifier rather than an enforcer.
This will require humility, openness to reform, and a genuine willingness to listen.
Online Reporter