Online Reporter
Tafadzwa Zimoyo-Zimpapers Entertainment Editor
HARARE’S entertainment scene has rarely generated this level of anticipation and debate in recent years.
Even before staging its first edition, Sunshine City Festival 2026 has found itself firmly in the spotlight.
Some fans and industry voices have been comparing it to the returning Harare International Festival of the Arts (HIFA).
They are questioning how both festivals will operate around the same season at the iconic Harare Gardens.
What began as casual social media discussion has now grown into a wider conversation across Zimbabwe’s creative industry.
Some argue the timing signals healthy growth and competition in the arts sector, while others feel the overlap could confuse audiences and stretch the market.
Yet, Sunshine City Festival founder, Nigel Chinovhiringa, says the narrative misses the bigger picture.
Rather than seeing it as rivalry, he insists the emergence of Sunshine City Festival should be viewed as proof that Zimbabwe’s cultural scene is expanding again and strong enough to accommodate multiple major platforms.
“People must understand this is not a duplication of HIFA,” Chinovhiringa said.
“Harare itself is called the Sunshine City, so this festival is about celebrating the city, its culture, its music and its people. Festivals can complement each other because arts is business.”
His comments come at a time when Zimbabwe’s entertainment industry is gradually rebuilding momentum after years of inconsistent large-scale events, limited sponsorship and reduced international touring circuits.
The return of HIFA has already revived excitement among creatives, but the Sunshine City Festival is positioning itself not as a shadow, but as an alternative cultural experience with its own identity.
Unlike traditional arts festivals that often lean heavily towards alternative or niche programming, the Sunshine City Festival is targeting a broader audience through a fusion of mainstream music, youth culture, theatre and regional collaboration.
Organisers describe it as a “multi-experience” festival designed to reflect modern African entertainment trends.
That vision is already reflected in its two-day line-up. Day One will feature South African group Mi Casa, alongside local acts Sylent Nqo, Don Family and Kurai Makore.
However, it is the added Urban Grooves element that has generated some of the loudest reactions from fans.
Performances by Roki, Shinsoman and Pauline have reignited nostalgia for one of Zimbabwe’s most influential musical eras, with many fans celebrating the return of a sound that shaped youth identity in the early 2000s.
Day Two shifts into high-energy Amapiano and contemporary African sounds, with performances expected from Boohle and Lady Du, alongside William Last, Yahya Goodvibes, Chillspot-affiliated acts and other regional performers.
According to Chinovhiringa, the line-up was carefully curated using audience demand rather than repetition or trend-chasing.
“We worked with the demand from fans,” he said.
“There is a formula we use when curating the festival. We wanted something fresh and balanced.
“We are not copying anyone, and we are not bringing redundant artists just because they are trending elsewhere.”
That approach appears to be resonating strongly with audiences online, where reactions to the line-up have been overwhelmingly positive.
Many fans have praised the organisers for blending international acts with local stars while also reviving nostalgic Zimbabwean sounds.
The inclusion of school bands such as the Prince Edward School Band and Dominican Convent School Band has also been widely welcomed, with many saying it gives young performers a rare opportunity to share a major professional stage.
Beyond music, the Sunshine City Festival is also expanding into theatre and storytelling, adding another layer to its entertainment offering.
One of the headline theatrical productions is Rhythm of My Chaos, a Ugandan play by legendary producer Kaya Kagimu Mukasa, which will be staged at Theatre in the Park as part of the festival programme.
Organisers say theatre lovers should not miss the production, describing it as a key part of their vision to make the Sunshine City Festival a multidisciplinary cultural platform rather than just a music event.
Behind the excitement, Chinovhiringa acknowledged that launching a new festival of this scale has not been without challenges.
Without naming individuals, he revealed that some promoters attempted to undermine the event before it even launched.
Still, he maintains that such resistance only highlights a deeper issue within the industry — the need for unity rather than division.
“There should not be unnecessary competition where people try to destroy each other,” he said.
“We should complement one another because when one event succeeds, it benefits artists, vendors, technicians and the wider creative economy.”
As Zimbabwe’s entertainment scene continues to evolve, the Sunshine City Festival finds itself at a defining moment.
Whether it becomes a permanent fixture or simply another ambitious project will depend on how audiences respond when the gates finally open.
For now, one thing is certain.
