Sundaymail Editor
Trust Khosa
Zimpapers Arts and Entertainment Hub
THE late sungura musician Tatenda Pinjisi, born Proud Tatenda Kahwa, lived each day as if it were his last.
Tragically, he passed away last weekend in a road accident along the Bulawayo highway, shortly after the Norton tollgate.
His untimely death, which also claimed the lives of two band members and a female passenger, left a huge void in the music community.
He was laid to rest on Wednesday at his rural home in Mutoko, a place integral to his identity as an artiste.
Pinjisi’s journey began in the remote areas of Mutoko, where he emerged as a rough diamond, refining his craft under the mentorship of established names in Harare.
It took the sacrifice of the underrated yet experienced musician Gift “Case” Amuli, who guided him when he was still a novice.
Amuli would take Pinjisi to many remote areas, especially small mining and farming towns, holding shows as part of Zvishavane Sounds. There was significant financial gain in these often-overlooked areas, which became Pinjisi’s template when he formed The Holy Super Sounds Band.
By 2015, he had a clear vision: to entertain the masses. His rural upbringing profoundly influenced his music, allowing him to connect with audiences on a personal level.
Despite his talent, the reality remained that many people in urban areas were unaware of his music until after his tragic death, a phenomenon all too common in Zimbabwe’s dual enclave entertainment landscape.
In the wake of his passing, videos of him in hospital and images of his car wreckage circulated on social media, transforming him into a trending topic.
While “keyboard warriors” flooded social media with expressions of love and admiration, it was evident that many had never attended his shows during his lifetime.
Pinjisi often performed in smaller towns like Chegutu, Kadoma and areas like Murombedzi, where he was well-received and appreciated, in complete contrast to the small crowds he drew in Harare.
This disparity highlights the complexities of fame and recognition in the music industry, where true followers are often hard to find.
The irony lies in the fact that many who now claim to be Pinjisi’s supporters were largely unfamiliar with his extensive catalogue, aside from his runaway hit song “Saina”. True admirers of his work were those who truly understood his journey — fellow musicians, club owners in rural communities and arts promoters like Partson “Chipaz” Chimbodza, Barbara “Mama Red Rose” Chikosi and Josh Hozheri. These promoters recognised his raw talent and nurtured it, often without monetary compensation.
The trauma he experienced during his final days and the circumstances surrounding his death ultimately brought him a level of fame that eluded him in life, raising questions about how society values artistes and their contributions. Most people only became aware of Pinjisi after his death and many seem unconcerned about the passing of two band members and the significant roles they played in shaping his career.
While Pinjisi was certainly the face of the band, he did not create the remarkable music that many are now clamouring for alone.
His late bass guitarist Naison Tembo was an essential component in the success of Pinjisi’s career.
With six albums to his credit, among them “Rumbidzo Kumusiki”, “Vadyi Venhaka”, “Africa Ine Murudzi” and “Varidzi Vebasa”, Pinjisi was never alone on his musical journey.
He had built a strong team of instrumentalists who believed in his talent and worked tirelessly to help him realise his vision.
To develop the unique brand, which he called “soft sungura”, Pinjisi relied on the sacrifices of many individuals, some of whom worked behind the scenes to ensure his potential was fulfilled.
What is particularly disheartening about his situation is that in Zimbabwe, we often fail to appreciate our stars until they are gone.
The likes of Fanuel “System” Tazvida, who also passed away at just 31, became instant heroes only after their deaths.
Sadly, many other talented artistes receive similar recognition posthumously and Pinjisi’s case is no exception.
While many now claim to admire him, they neither purchased his music nor attended his live shows during his lifetime.
At just 34, Pinjisi was poised for greatness, judging by his creative talent and innovative spirit.
With a bit of luck and sound management, he could have soared to even greater heights in his career.
He leaves behind three sons and his story serves as a poignant reminder of the fragility of life and the fleeting nature of recognition.
May his soul rest in peace and may we learn to celebrate our artistes while they are still with us, ensuring their contributions are acknowledged and appreciated in real-time.
Moreover, it is crucial for the music industry and fans alike to cultivate a culture of support and appreciation for artistes during their careers.
This shift can foster a more vibrant and sustainable music scene, where talent is recognised and nurtured rather than mourned only in retrospect.
By actively engaging with artistes and their work, we not only honour their contributions but also enrich our musical landscape. Let us remember Pinjisi not just as a talent lost too soon, but as an inspiration for future generations of musicians who seek to leave their mark on this world.
Online Reporter