Online Reporter
Mtandazo Dube
Entertainment Correspondent
The debate over who makes up Zimbabwe’s “Big 5” has been reignited, becoming a topical issue, for the umpteenth time, in our music industry.
Every time the conversation starts, names are thrown around, arguments become emotional, and music fans try to defend their favourite artistes.
But perhaps the biggest question is one nobody wants to ask: Has Zimbabwe produced enough dominant artistes in this generation to justify a Big 5?
We think not.
Talent alone does not define greatness — Zimbabwe has many stars, but only a handful of artistes who have reached true superstardom. Our argument is simple: Zimbabwe does not currently have a Big 5; it has a Big 3 — and a very competitive second tier.
This is not an attack on the musicians who fall outside that group. Zimbabwe has produced countless talented artistes, many with impressive catalogues, loyal fan bases and undeniable contributions to our culture.
But first things first: we need to define what “Big” actually means.
A Big 5 should not simply mean an artiste who is talented, has a few hit songs, enjoys popularity, has won awards, or commands a loyal following. By that definition, Zimbabwe could easily have a Big 20.
Greatness requires something bigger — a true Big 5 should represent dominance across multiple categories.
Firstly, longevity: Can the artiste survive changing generations?
The first measure of greatness is staying power. This is where Alick Macheso has built an almost unmatched legacy. From the height of sungura’s dominance in the 1990s to the modern streaming era, Macheso has remained relevant, maintained a huge following, and continues to fill venues.
His career represents continuity — proof that an artiste can evolve without losing their identity.
Secondly, cultural impact: Has the artist become bigger than music?
Some musicians release songs; others become part of the national conversation.
Winky D falls into the second category.
He is not merely one of Zimbabwe’s biggest dancehall artistes, but some say he has become the voice of a generation.
Thirdly, national and international reach: Can they carry Zimbabwe’s sound beyond our borders?
A truly big artiste must not only dominate locally but also represent Zimbabwe on a wider stage. Jah Prayzah built a brand that has pushed Zimbabwean traditional influences into a modern Afro-fusion space, creating appeal beyond the country’s borders.
His collaborations, performances, and musical identity have helped position Zimbabwean music in a broader African conversation.
Fourth, commercial power: Can the artiste move an industry?
Superstars do not only attract fans; they attract economic value. They headline major events, attract corporate partnerships, command appearance fees, and remain marketable over long periods. Commercial relevance is part of measuring greatness because music is both art and an industry.
Fifth, a catalogue that survives time.
A viral song does not create a legend; a true great has a body of work that continues to be played years after release. Their songs become memories shared across generations.
Greatness is not measured by what is trending today, but by what survives tomorrow.
Using these standards, the argument becomes clearer:
Alick Macheso, Winky D and Jah Prayzah have separated themselves because they possess the combination of longevity, influence, reach, commercial power and enduring catalogues.
That is why Zimbabwe currently has a Big 3.
Everyone else is competing for the remaining positions. The second tier is not weak; in fact, it is extremely competitive. Artistes such as Freeman, Killer T, Tammy Moyo, Minister Michael Mahendere, Janet Manyowa, Feli Nandi, Nutty O, Enzo Ishall, Mokoomba, Suluman Chimbetu, Tocky Vibes, ExQ, and many others have built impressive careers and have strong arguments in specific categories.
But the question is not whether they are good enough. The question is whether they have achieved the same level of dominance across all measurements. And that is where the gap exists.
The argument about Zimbabwe’s Big 5 is not new. In fact, Zimbabwe once had a Big 5 — musicians who combined longevity, influence, cultural ownership and an undeniable national footprint.
There was a time when the phrase carried real weight because the country had a group of artistes who were not only talented but could individually carry an entire event.
During the height of the Chipaz Promotions and Josh Hozheri era, the end-of-year shutdown concerts became some of the biggest events on Zimbabwe’s entertainment calendar.
These were not ordinary shows; they were cultural gatherings where the country’s biggest musicians shared one stage and competed for dominance in front of thousands of fans.
These modern musical giants would naturally include names such as Oliver Mtukudzi, Alick Macheso, Tongai Moyo, Suluman Chimbetu and Jah Prayzah or Winky D depending on the era. But after the passing of some legends and the changing nature of the music industry, Zimbabwe now finds itself in a transitional period.
The old giants created enormous shadows, while the next generation is still trying to produce artistes who can achieve the same universal dominance.
