Online Reporter
Zimpapers Arts and Entertainment Hub
Acclaimed South African DJ and producer Prince Kaybee, best known for hit tracks such as Fetch Your Life, Charlotte, Gugulethu, and Banomoya, has weighed in on the ongoing debate over the global appeal, or lack thereof, of Zimbabwean music.
The discussion was sparked by a viral post on social media platform X, where user Tabani lamented the influx of South African artistes into Zimbabwe and questioned the export value of local music.
“A fortnight ago, Scotts Maphuma and Nasty C were in Harare. Last week, it was Kabza. This coming week, it’s DJ Maphorisa and Prince Kaybee. While SA artistes are making money from Zimbabwe, our music is mediocre and carries no export value. When Zim artistes go abroad, they play for Zimbabweans. That’s how mid our music is,” the post read.
The statement ignited a storm of responses from artistes, producers, and fans, many of whom echoed the sentiment that Zimbabwean music lacks a distinctive, marketable identity. Some referenced the likes of the late Oliver Mtukudzi and Thomas Mapfumo, musicians with globally recognisable sounds rooted in local tradition, as examples of export-ready artistry.
Now, Prince Kaybee has added his voice to the conversation with a nuanced critique drawn from personal experience.
“I have been to Zimbabwe a lot, mostly in Bulawayo and Harare, even stayed there for a month while recording The 4th Republic,” he wrote on X.
“I’ve noticed that the fabric of Zimbabwean music, its core inability to be exported, isn’t a quality issue. You guys actually have world-class engineers and songwriting.”
Instead, Prince Kaybee pointed to sonic identity, the musical style and sound, as a key issue.
“The issue is the type of sonics that have been consistent throughout the years, which is Zimdancehall. It’s a very small genre that is a subgenre in and of itself, and it’s too layered to be commercially feasible in South Africa.”
While acknowledging the recent rise of ZimHip-Hop and the presence of talented Afro-house DJs from Zimbabwe making waves internationally, he stressed that the dominant genres, particularly Zimdancehall, struggle to appeal to wider markets.
He also noted a persistent dancehall influence, even in genres where it might not fit naturally, such as Amapiano.
“Even with adopting what’s happening in the world, like Amapiano for instance, the writing and lyrical approach still has that dancehall texture. That makes it hard for the music to evolve and grow.”
Prince Kaybee concluded by encouraging Zimbabwean creatives to keep pushing, noting that language barriers may sometimes contribute to limited reach, but perseverance and innovation will eventually bear fruit.
“Keep creating, it will work out one day.”
His feedback echoes a broader call within the Zimbabwean music industry for authentic innovation, a rediscovery of the local sound that blends heritage with modern appeal, something that artistes like Mtukudzi and Mapfumo once mastered.
As more Zimbabwean acts strive for global relevance, Prince Kaybee’s insight may serve as both a challenge and a roadmap: quality is present, but sonic identity and exportability remain the missing links.
