Online Reporter
Tafadzwa Zimoyo and Maria Chiguvari
There was a time when the arrival of an international musician in Zimbabwe was enough to dominate the entertainment calendar, but that flow later became less predictable.
Now, the international stars appear to be finding their way back, with Malian music legend Salif Keita and Congolese dance sensation Yondo Sister recently in the country for Ecobank Legends Night, while Jamaican dancehall heavyweight Beenie Man and Congolese star Awilo Longomba are expected to return for the Kadoma Odyssey Festival.
The significance goes beyond simply putting international names on local posters.
It points to Zimbabwe reconnecting with the wider entertainment circuit and rebuilding musical bridges that allow local audiences to experience major African and international acts while local musicians share the same platforms.
The return of international artistes also speaks to Zimbabwe’s long-standing reputation for welcoming visitors through music and culture.
For many in the arts sector, the willingness of foreign performers to return and engage with local audiences reflects a country where cultural exchange is embraced, and artistes can connect beyond borders.
Fans and arts authorities have often highlighted the entertainment industry’s role in bringing people together, creating spaces where different nationalities, sounds and cultures can share the same stage.
At a time when racism and xenophobia have affected cultural exchanges in some parts of the world, Zimbabwe’s hospitality offers a contrasting picture through the universal language of music.
Salif Keita’s recent visit brought decades of African musical history back to Zimbabwe, while Yondo Sister added a different dimension through dance and performance.
Their appearances demonstrated the continuing appetite among Zimbabwean audiences for international entertainment, but Beenie Man’s return carries its own history because the Jamaican dancehall giant is no stranger to the country.
Beenie Man is set to make his third appearance in Zimbabwe when Kadoma Odyssey Festival celebrates its fifth edition with a line-up that deliberately mixes international stars, established local acts and emerging musicians.
Festival director Prince Mharadze said the festival’s approach was to bring artistes who already have a relationship with Zimbabwe rather than simply importing international names.
“We always focus on the fans. We like to bring international artistes who have a connection and appreciation for Zimbabwe, our music and our people.
“Beenie Man’s history of coming to Zimbabwe and already having collaborated with Zimbabwean artistes is an exciting prospect for us,” he said.
That history stretches back to 2010 when Beenie Man shared the stage with Cindy Munyavi, performing “Girls Dem Sugar”, “Feel It Boy” and “Dude”. He returned in 2017 and shared the stage with Winky D, producing one of his most memorable Zimbabwean moments when he praised the local dancehall star after his performance.
“When Winky D was performing, I thought I was in Jamaica,” Beenie Man famously declared.
The comment became a memorable endorsement of Zimbabwe’s dancehall movement from one of Jamaica’s established stars and remains part of the story surrounding his relationship with the country.
His latest visit will come alongside Congolese rhumba star Awilo Longomba, whose inclusion speaks directly to Zimbabwe’s enduring love for rhumba, while sungura giant Alick Macheso and dancehall heavyweight Winky D will return after featuring in previous editions. Mharadze said the festival was also conscious of the need to create space for the next generation, with Jnr Spraga and Feli Nandi joining the established names.
“Awilo Longomba is a very exciting part of the line-up given the love of rhumba music in Zimbabwe. This year we’ve seen the growth and rise of new stars in Zimbabwe such as Jnr Spraga and Feli Nandi,” he said.
The festival’s ability to put Jamaican dancehall, Congolese rumba, sungura and Zimbabwean dancehall on one platform is perhaps its most interesting proposition.
It creates a space where different audiences converge while giving emerging musicians an opportunity to appear alongside artists whose careers have already crossed international borders. Macheso and Winky D, meanwhile, represent the continuity of the local industry. Mharadze said their longevity had not diminished their ability to remain relevant.
“There is not much that can be said to enhance their legacies; they are already legends.
“Despite their years of service, they are always reinventing and redefining with their creativity and electrifying performances. Expect magic,” he said.
That mixture of established local names, emerging talent and international performers is increasingly important for Zimbabwe’s entertainment industry. International acts bring audiences and attention, while local artists gain exposure, collaborations and the opportunity to demonstrate that Zimbabwean music can hold its own on the same stage.
The recent arrival of Keita and Yondo Sister, followed by Beenie Man’s expected return, therefore creates a wider narrative about Zimbabwe’s place in the international entertainment ecosystem.
Kadoma Odyssey’s fifth edition is not simply another festival on the calendar. It is part of a growing effort to make Zimbabwe a meeting point for sounds, artists and audiences from different parts of the world.
And if Beenie Man’s previous visits are anything to go by, the Jamaican star will not simply be returning to perform.
He will be returning to a country where he already has musical memories, relationships, and an audience that remembers exactly what happened the last time he shared a stage with Winky D. This time, the question is what new memory he will leave behind?
