Online Reporter
Tafadzwa Zimoyo and Maria Chiguvari
RISING xenophobic tensions across parts of Southern Africa are increasingly spilling into the arts and entertainment industry, disrupting festivals, reshaping line-ups and placing cross-border collaborations under unprecedented pressure.
What was largely a vibrant regional exchange between Zimbabwean and South African performers is now being tested by political anger, online campaigns and mounting public sentiment. At the centre of the disruption are renewed debates around illegal immigration in South Africa, which have triggered strong reactions across social media platforms.
These discussions have quickly moved beyond politics and into cultural spaces, where some audiences are demanding the exclusion of foreign artistes from local stages as a form of protest or solidarity.
Industry players say the situation is already affecting livelihoods, with artistes losing bookings, organisers forced into last-minute changes, and festivals reviewing contracts to avoid backlash. Promoters warn that the uncertainty is destabilising a sector that relies heavily on regional mobility and cross-border appeal.
“This is no longer just about entertainment — it’s about survival for some artistes,” said one Harare-based event organiser.
“You can have a fully booked international act today and lose them tomorrow because of online pressure.” The ripple effects are now visible across multiple high-profile events in Zimbabwe and the region.
South African musician Musa Keys has been dropped from the line-up of “The Mighty Zambezi Bonfire” festival set for Saturday at Donnybrook Park in Harare after organisers released a revised poster that now features an all-local line-up following mounting social media pressure.
Similarly, South African group Mafikizolo was removed from the Buddie Beatz concert scheduled for Sunday, a move that sparked debate online about whether music should be separated from political tensions or reflect public sentiment. Beyond Zimbabwe, several events in the region have also been affected. In South Africa, Zimbabwean and other foreign acts have reportedly faced cancellations or reduced bookings at some township festivals amid heightened scrutiny and pressure from local movements calling for prioritisation of domestic talent.
While some of these cancellations have not always been officially confirmed by organisers, the pattern reflects a growing sensitivity around foreign performers on regional stages.
The uncertainty has also begun to affect festival planning cycles. Promoters now say they are factoring in “public sentiment risk” alongside budgets and logistics when booking artistes. This has led to more cautious line-ups, fewer cross-border headliners, and an increased reliance on local talent pools.
The Mighty Zambezi Bonfire Festival, returning after a four-year hiatus, is one of the latest events caught in this shifting environment. Traditionally known for its outdoor lifestyle experience centred around a communal bonfire, the festival combines live music, food, social spaces and cultural storytelling.
This year’s edition had initially included regional collaborations, but organisers now say the focus has shifted firmly toward Zimbabwean talent. The updated line-up includes Djembe Monks, Kotwane Hikwa, DJ Klique, ExQ, WowRae, Sam Cosmic, Takura and Tammy Moyo, among others.
Organisers say the festival remains committed to restoring its original identity despite the challenges.
“The Mighty Zambezi Lager Bonfire Festival has always been more than just an event; it is a unique lifestyle and cultural experience made for our Zambezians,” organisers said. “It brings us together to enjoy Zambezi Lager and celebrate the great outdoors, music and storytelling while building connections around the warmth of one large, unifying bonfire.”
Ahead of the main event, a series of Bonfire Micro Events have already been staged in Kadoma, Bulawayo and Harare, as part of efforts to rebuild momentum for the festival’s return.
However, the wider industry climate remains tense. Other recent disruptions include the removal of Mafikizolo from Buddie Beatz, as well as growing pressure on upcoming shows such as Alick Macheso’s Cheso Power Festival, where fans have called for South African singer Makhadzi to be dropped from the line-up.
While some organisers are responding to public pressure by reshaping line-ups, others warn that the growing politicisation of entertainment risks damaging regional cultural exchange that has been built over decades.
For now, the industry finds itself at a crossroads — balancing audience expectations, political sensitivities and the economic realities of live entertainment in an increasingly divided environment.
