Online Reporter
Sipepisiwe Moyo and Langelihle Dube, Zimpapers Arts and Entertainment Hub
The oversubscribed Harris Music Festival provided a fitting finale to the week-long Zimbabwe International Trade Fair (ZITF). Held at the Bulawayo Athletic Club on Saturday, the final day of ZITF, the event featured a vibrant mix of local and international artistes, delivering a night that celebrated both music and cultural diversity.
From early evening, with both vehicle and foot traffic heading steadily to the venue, it was clear this would be no ordinary show. Crowds arrived dressed for both the chilly weather and style, ready for a night of house, Amapiano and dancehall.
The festival opened with a strong showcase of local DJs. Rotational sets from local DJs, Prince Eskhosini, DJ Eugy, DJ Crocx, and Sfiso ensured there was never a dull moment in the early stages. Each DJ brought a distinct flavour to the decks, moving seamlessly across genres and tempos while keeping the crowd engaged and warmed up. Afro-Fusion musician Msiz’Kay also brought his own flavour to the show with a live performance.
Guiding the evening were MCs Mzoe7 and Tiff, whose chemistry and stage presence kept the energy consistent throughout. They understood the pacing of the event, knowing when to elevate the crowd and when to let the music speak.
As the night progressed, the shift from DJs to live performances marked a turning point. South African artistes, GL Ceejay, Jazzworx and Thukuthela were tasked with opening the main act segment, and they did so with confidence.
Their set leaned heavily into three-step sounds, a genre that continues to gain traction across Southern Africa.
ZimDancehall star Enzo Ishall then took to the stage, bringing with him a wave of excitement. Known for his ability to command attention, he delivered a performance that was both polished and engaging.
Moving through his catalogue with ease, he kept the crowd locked in, blending sing-along moments with bursts of high energy. His set served as a reminder of the enduring popularity of dancehall within Zimbabwe’s music landscape.
After Enzo’s performance, DJ Eugy returned to the decks, resetting the mood and preparing the crowd for the next phase of the night. His set smoothly built anticipation for the arrival of South African Afro-house artiste NaakMusiQ.
NaakMusiQ’s entrance brought a shift in mood. Opening with his hit track “SHO!!,” he introduced a different sound to the festival. His set leaned on nostalgia, with songs like “Amabenjamin” and “Call Out” taking the crowd through familiar music many had grown up with.
The energy in the crowd changed during his performance, becoming less about high-intensity movement and more about connection, as attendees enjoyed the throwback feel. It was a well-timed change of pace that added depth to the overall experience.
The tempo picked up again with the arrival of Amapiano sensation CowBoii behind the hit Mdantso Nyana. Opening with “Tsokolo”, he drew an instant reaction from the crowd. Incorporating viral dance challenges, he turned the stage into a participatory space, encouraging the crowd to mirror his movements.
One of the night’s most anticipated moments came when Thatohatsi took to the stage. As she opened with “Thandaza”, the crowd erupted, chanting her signature “Yeyeni bo”. Her set stood out, featuring popular collaborations like “Abantwana Bakho” “Amaphutha” and “Bogogo”. She performed with confidence, and the audience responded with equal energy.
In a brief but memorable moment, South African MC uMaSibalukhulu appeared on stage to greet the Bulawayo audience, adding an extra layer of cross-border cultural exchange to the event.
The spotlight then shifted back to local talent as Gweru-based DJ Crocx took control of the decks. He delivered a set that many would later describe as one of the standout DJ performances of the night.
Known as the “Street Gorilla”, he lived up to the name, playing a selection that was both bold and crowd-focused. His ability to read the audience and respond in real time set him apart.
Each track landed exactly when it needed to, keeping the dancefloor alive and fully engaged.
South African maskandi artiste Mthandeni SK and his dance crew brought a different flavour to the festival. Their performance introduced traditional Zulu elements, offering a refreshing contrast to the electronic sounds that dominated much of the line-up. Tracks like “Paris” and “Gucci” were well received, with the crowd appreciating the diversity he brought to the stage.
Kamo Mphela followed with a performance that brought a new level of intensity to the night. Known for her electrifying stage presence, she delivered exactly what fans expected. Backed by a high-energy dance crew, her set combined music and choreography, making it a fully visual experience.
Amapiano musician Scotts Maphuma followed with a performance that felt effortless. Already familiar with the Zimbabwean audience, he leaned into his viral dance trends, many of which have gained traction on social media platforms. The crowd mirrored his moves, creating a synchronised atmosphere that felt both organic and entertaining.
However, it was Makhadzi who ultimately stole the show. Dubbed the “Queen of Limpopo”, her performance was a masterclass in stage presence and audience engagement. From the moment she stepped on stage, there was a noticeable shift in energy.
Her set was relentless, filled with powerful vocals, dynamic choreography and an undeniable connection with the audience. Each song was delivered with intensity, and the crowd responded with unwavering enthusiasm. It quickly became clear that her performance was the defining moment of the night.
So strong was her impact that the audience demanded more, effectively extending her time on stage beyond what had been scheduled. It was a rare moment where the performer and the crowd were completely in sync, creating an atmosphere that felt almost electric.
Closing the night was Zimbabwean music icon, the Gafa himself, Winky D. A consistent crowd favourite, he delivered a performance that served as both a conclusion and a celebration. Moving through a massive catalogue of hits, he reminded the audience why he remains one of the most respected figures in the country’s music scene.
Dressed in the black and white colours associated with the host city’s football club, Highlanders FC, his appearance carried a subtle nod to local pride.
By the time the final track played, there was a clear sense of satisfaction among attendees, who felt they had witnessed something memorable.
The Harris Music Festival was more than just a concert; it reflected the region’s evolving music scene, where genres and cultures blend seamlessly. It also underscored the importance of creating platforms for both established and emerging artistes.
By bringing together a diverse line up, the festival entertained while showcasing the richness of Southern African music.
