Online Reporter
Langalakhe Mabena, Zimpapers Arts and Entertainment Hub
MUSIC promoters across Zimbabwe are calling on the Government to urgently review and reduce the high fees associated with acquiring and renewing promoter licences, as well as the multiple taxes and levies they are required to pay each time they host an event. They argue that these costs are crippling the live entertainment industry and stifling its potential to contribute meaningfully to the economy.
Their appeal comes at a time when the Government has approved significant reductions in business licensing fees, including slashing the liquor licence application fee from US$1 080 to just US$20 — a move aimed at improving the ease of doing business and stimulating economic growth.
Promoters now want similar relief extended to the arts and entertainment sector, which they say plays a vital role in job creation, tourism and revenue generation.
To be recognised as an active promoter, one must register with the National Arts Council of Zimbabwe (NACZ) for US$1 850, with an annual renewal fee of US$1 750. Once registered, the financial burden only increases. To clear shows featuring regional or international acts, promoters must pay 15 percent of the artiste’s fee to the Zimbabwe Revenue Authority (Zimra). Additionally, they are required to pay a minimum of US$1 000 per show, US$250 to the Zimbabwe Censorship Board (ZCB) and US$500 to the Department of Immigration. For local shows, promoters must pay US$100 to NACZ for clearance.
Seasoned promoter Dee Nosh of DTL Events — known for hosting large-scale events across the country, including the upcoming Kadoma Music Festival headlined by international dancehall stars Busy Signal and Chris Martin — said the high costs make Zimbabwe one of the most expensive countries in the region for staging shows, particularly those featuring foreign acts.
“In Southern Africa, Zimbabwe is the most expensive place for a promoter to host an event. The amount of money we pay to various authorities is simply too much. This is why show tickets here are expensive. Promoters are forced to pass on the costs to consumers because we’re trying to recover what we lose on flights, hotel bookings, artiste fees and Government charges,” he said.
He added that the hefty charges have pushed many promoters to bypass the system, either by operating under the radar or by taking their business across borders.
“Because of the costs involved, many prefer to host the same event in neighbouring countries like Botswana or Zambia, where bringing in an international act is free. At the last Victoria Falls Carnival, most international acts performed in Zambia. Zimbabwe lost revenue and tourism income because of that,” said Dee Nosh.
He urged the Government to urgently address the issue, warning that it is losing significant revenue due to these excessive levies.
Bulawayo-based promoter Mduduzi Mdlongwa of 3D Events echoed the sentiment, saying that while promoters are business-minded and eager to comply with regulations, the current costs are simply unsustainable.
“The Government must understand how this industry works and the role we play in the economy. Promoters are willing to co-operate with all stakeholders, but for everyone to benefit, the fees need to come down.”
He broke down the costs involved in bringing an international act to Zimbabwe as an example.
“To bring in Sjava from South Africa, his fee alone is about R100 000 (approx. US$5 800). He usually travels with four people, and airfares range from US$300 to US$600 per person. Hotels cost around US$500 per night for four people. And on top of all that, we still have to pay Zimra, NACZ, ZCB and Immigration,” Mdlongwa explained.
Adding up all these costs, a promoter needs to part with approximately US$10 000 to successfully bring in Sjava alone. This means that to avoid making a loss, they must recover the amount through ticket sales or secure corporate sponsorship to support the event.
Such expenses mean promoters risk massive losses if a show underperforms. This has discouraged many from renewing their licences.
“This year, fewer than 50 of over 300 promoters renewed their licences.
“That shows how unsustainable the system has become. It also opens the door to manipulation, with unregistered promoters using others’ licences.
“We need a system that’s fair and open to all,” Mdlongwa said.
Tapiwa Gandiwa, who stages numerous events in Bulawayo, Gwanda and Beitbridge at his establishments, said the heavy fees are a major barrier to growth, particularly for promoters working outside major cities.
“The costs make it very difficult for us to operate effectively. It’s even harder for small-town promoters to grow when so much money goes to regulatory bodies,” Gandiwa said.
Harare-based renowned theatre practitioner and promoter Daves Guzha went a step further, arguing that annual licence fees should be abolished altogether.
“Yearly, licences add zero value to promoters or the industry. In fact, NACZ should be giving grants to promoters and artistes — not the other way around,” he said.
From conversations with promoters, it is clear that their call for reform goes beyond simply reducing costs. It is about building a more vibrant, competitive and sustainable entertainment industry.
With Zimbabwe already losing major events, audiences and revenue to neighbouring countries, industry players warn that without urgent intervention, the situation will continue to deteriorate.
They argue that lowering fees would not only encourage compliance and bring more promoters into the formal system but also unlock the industry’s full potential as a catalyst for tourism, cultural exchange, job creation and broader economic growth.
Bongani Ndlovu