Online ReporterPrince Mushawevato
IT seems rising xenophobic tensions across the Limpopo are rewriting the script insofar as local showbiz is concerned.
Following a series of recent high-profile concert cancellations where South African artistes were billed to perform, many are now asking if this represents the beginning of a shift in the local music industry.
As anti-migrant protests and related disturbances persist in South Africa, thousands of foreign nationals have been displaced.
By the middle of last week, nearly 80 000 Zimbabweans had returned back home.
In response, many promoters have been forced to cancel gigs featuring South African acts or to axe them from the line-up fearing a backlash from irate music fans.
Notable casualties of this social media-driven boycott include the duo Mafikizolo and Musa Keys, who were recently forced to withdraw from the Buddie Beatz and Zambezi Bonfire concerts, respectively.
This push for a boycott is not limited to Zimbabwe; it has become a regional phenomenon.
Beyond the music scene, renowned South African actress Dawn Thandeka King — famed for her roles in “Shaka iLembe” and “Uzalo” — recently cancelled her appearance at the Isintu Festival in Ireland.
“Please note that the Isintu Festival is not cancelled. It is my trip and my appearance that have been cancelled,” King said in a statement.
The impact of these tensions continues to ripple through the industry.
Makhadzi’s scheduled appearance at the inaugural Cheso Power Festival in Harare on July 31 currently hangs in the balance as calls for a boycott intensify.
Similarly, the fate of Kadoma July Fest — now in its fourth edition — is still up in the air.
While the event was set to be headlined by South African stars including Nasty C, Nkosazana Daughter and Scotts Maphuma, their participation is now in doubt.
“Nothing has officially been communicated to us. We are waiting for confirmation from the authorities regarding these cancellations,” said event promoter Dee Nosh.
“Much of what is being said is currently circulating on social media. This event was organised last year; bookings and all other necessary logistics have already been finalised.”
Partson “Chipaz” Chimbodza, chairperson of the Association of Music Promoters in Zimbabwe (AMPZ), acknowledges that many artistes are opting to cancel gigs of their own volition.
“It is a sad situation. I believe many booked artistes will fail to arrive due to circumstances beyond our control. As promoters, we must respect the wishes of our fans. For now, we will proceed with the Cheso Fest as planned and let the situation guide our next steps,” said Chimbodza.
Meanwhile, the status of sungura legend Alick Macheso’s appearance at the Mzansi’s Silala Music Festival on Saturday (yesterday) remained unclear at the time of going to print.
While his management team has remained tight-lipped, sources close to the camp suggest he was unlikely to participate.
Conversely, dancehall artiste Guspy Warrior has taken a proactive stance, announcing the postponement of his upcoming South African tour.
“It is with a heavy heart that I announce the postponement of my upcoming South African tour due to the ongoing security concerns and threats affecting foreign nationals,” he wrote on social media.
“My heart goes out to every Zimbabwean and every other foreign national living through these difficult and uncertain moments.”
Last week, South African music executive and podcaster Nota Baloyi has urged his compatriots to boycott performing in Zimbabwe.
“We need to boycott all these countries. Why are South African artistes performing in Zimbabwe in the first place? We should boycott them …,” Baloyi argued.
“We should be boycotting all these Zimbabwean festivals and all those foreign promoters who rely on South African acts.”
Shift
There are some who believe that the latest developments could inadvertently trigger a transformative trend for the local music industry. Also, with tens of thousands of Zimbabweans returning home, it is also thought that South Africa may no longer be a lucrative market for local artistes. Historically, a significant portion of audiences attending South African concerts were members of the Zimbabwe diaspora. Furthermore, local promoters have long invested heavily — sometimes tens of thousands of United States dollars — in South African headliners, banking on their “perceived” ability to pull large crowds.
In the process, local musicians have often complained of being overlooked, frequently receiving only nominal pay under the guise of “gaining exposure”.
While South African stars like Cassper Nyovest, Mafikizolo, Nasty C and Nkosazana Daughter have commanded appearance fees ranging from US$15 000 to US$40 000 for just minutes of stage time, local acts have often settled for a fraction of that, sometimes as little as US$200.
Beyond these fees, promoters often provide premium travel and five-star accommodations for international acts — funds that many believe could be better channelled into identifying, nurturing and developing homegrown talent.
Showbiz enthusiasts argue that this crisis presents a perfect opportunity for promoters to transition local artistes into international stars.
“We have a lot of potential in our local musicians,” reckons Jive Zimbabwe founder Benjamin Nyandoro.
“Through our platform, we have previously initiated programmes to consciously identify and grow local talent. If we cultivate a large pool of local stars with international appeal, we will no longer have to depend on a handful of artistes — or foreigners — to ensure a gig’s success.”
Current market trends are already beginning to prove that “local is lekker”.
The massive success of events like Doek and Slay and the exhilarating performances of the InTotal Band at the Legend Night gigs demonstrate that when well-organised, local concepts can comfortably fill giant auditoriums.
The promoter’s dilemma
Industry veterans recognise that while the current situation is difficult, it forces a necessary evolution.
“A large part of my career in music promotion has been focused on nurturing talent,” said AMPZ president Josh Hozheri.
“Some of the local stars dominating the scene today, such as Jah Prayzah, passed through my hands. Victor Kunonga also launched his debut album at my club, Jazz 105, and was a staple in a number of our offsite events.”
Hozheri agrees that it is time for local talent to take centre stage, noting that many artistes are immensely gifted but lack the necessary exposure.
“The challenge we face is that we often scramble for ‘refined’ products at the expense of budding stars. I am currently perfecting the Totems concerts, a platform I hope to use to identify and grow fresh talent. Everyone is after profit, but as promoters, we sometimes have to undertake sacrifices that eventually benefit the artistes.”
However, Hozheri acknowledges the logistical headache these cancellations create.
“It is a tricky situation. Gigs are not organised overnight; promoters have already incurred heavy costs through venue deposits, artiste bookings and travel arrangements.”
The National Arts Council of Zimbabwe (NACZ) has weighed in, urging promoters to consider postponing performances by South African artistes to safeguard both performers and the public. NACZ chief executive officer Napoleon Nyanhi indicated that this is a precautionary measure.
Speaking on Star FM, Nyanhi noted: “I do not see this as punishment or prejudice against the artistes. Rather, I see it as promoters being mindful of the prevailing public sentiment.”
He warned that in the current climate, large-scale events — some drawing crowds of up to 10 000 people — could become high-risk environments.
“At the moment, it may not be safe for artistes such as Mafikizolo, Makhadzi or Daliwonga to perform here. This is not because Zimbabweans suddenly dislike them; we are simply saying that, for their own safety, it would be better for them to wait until tensions subside.”
Not everyone agrees that boycotts are the solution.
Many neutral observers maintain that music and cultural exchange should remain insulated from politics.
“What is happening affects the industry significantly,” notes Tich Mharadze of 2 Kings Entertainment.
“We want our artistes to perform in South Africa and across the globe, just as we want South African artistes to perform in our country.”
Mharadze argues that there are more constructive ways to address these tensions than through exclusionary tactics.
“We are conflating two very different issues. There is no reason to boycott South African artistes while we continue to consume their other goods … I feel artistes have simply become an easy target.”
He also points to the internal dynamics of the industry, suggesting that professional jealousy often fuels such movements.
“Music promotion is an industry full of jealous individuals and people often settle personal scores during these situations. The fans who actually pay to attend gigs rarely have a problem with the performers. It is often those who do not even attend the shows who stir up the trouble.”
Mharadze added: “The solution is simple for fans in both Zimbabwe and South Africa: If you do not agree with a booking, stay home. Resorting to threats or violence is not the answer.”
Logistical nightmares
For promoters, particularly in Matabeleland — a region that frequently hosts South African talent — these disturbances have created profound logistical challenges.
Mduduzi Mdlongwa of 3D Events spoke candidly about the impact on business planning.
“This has presented significant challenges because it means we cannot confidently book any artistes from South Africa, even though, by this time of year, those arrangements should already be finalised,” he said.
“We are heading into the peak season — spring and summer — which includes the Heroes and Defence Forces holidays. These long weekends are traditionally when we capitalise on our investments by bringing in South African acts.
“Now, that is not possible. It makes planning for the end of the year, where we typically generate the bulk of our revenue, extremely difficult because we have no way of knowing how long these anti-migrant sentiments will persist.”
The South African government has since acknowledged that the repercussions of anti-immigrant sentiment are being felt at national level. South African Minister of Justice and Constitutional Development Mmamoloko Kubayi said the regional backlash is causing a significant economic dent.
“Many South African artistes are seeing their gigs cancelled across the continent,” Kubayi said.
“These events are a major source of income for our artistes. One artiste reached out to me specifically to say that all her gigs on the continent were cancelled. This is a direct income loss for South Africa and the country’s cultural brand is undoubtedly suffering as a result.”
