I have been thinking about this question for years. Why hasn't Zimbabwean music broken through globally the way Nigerian Afrobeats or South African Amapiano has? We have the talent. We have the heritage. We have stories worth telling. Yet when the BET Awards announce their nominations, Zimbabwe is absent. When the Grammys recognise African music, we watch from the sidelines.
This is not a complaint. It is an observation that demands honest examination. Because I believe Zimbabwe's moment is coming. The question is whether we will be ready when it arrives.
The Current Landscape
Let me be direct about where we stand. Nigeria owns Afrobeats. South Africa owns Amapiano. Ghana rides alongside Nigeria on the Afrobeats wave. These countries have successfully exported their sounds to the world. Burna Boy fills stadiums across Europe. Tyla wins a Grammy. Uncle Waffles performs on Coachella's main stage.
Meanwhile, Zimbabwe's greatest international success story remains Oliver Mtukudzi, who passed away in 2019. Sha Sha received recognition, but she built her career in South Africa. Jah Prayzah recently became the first Zimbabwean artist to reach two million Spotify streams in under a year. Gemma Griffiths earned a Rolling Stone Africa cover. These are real achievements. But they are exceptions, not the norm.
The uncomfortable truth is that most Zimbabwean artists, myself included, are still building audiences primarily within our own borders.
Why This Matters
Some might ask why global recognition matters at all. If the music connects with Zimbabweans, isn't that enough?
I understand this perspective. There is dignity in serving your community. But I also believe that Zimbabwean stories deserve to be heard worldwide. Our experiences, our struggles, our joys, our sounds: these have value beyond our borders. When the world only hears African music from two or three countries, it receives an incomplete picture of this continent's creative output.
There is also a practical dimension. Global reach means sustainable careers for artists. It means investment in studios, in training, in infrastructure. It means young musicians seeing a viable path forward, not just a hobby that might pay off someday.
The Challenges We Face
I will not pretend the obstacles are small. They are significant, and ignoring them helps no one.
Identity Crisis. What is the "Zimbabwean sound" we are exporting? Sungura? Chimurenga? Zimdancehall? Afro-fusion? Other countries have clear sonic identities. When you hear Amapiano, you know it is South African. When you hear Afrobeats, you know it is Nigerian. Zimbabwe has rich musical traditions, but we have not unified around a single exportable sound.
Economic Barriers. Our currency instability makes international transactions difficult. Receiving payments from streaming platforms involves navigating a maze of banking challenges. Many artists cannot afford proper studio time, let alone international marketing campaigns.
Infrastructure Gaps. Internet access remains expensive and inconsistent outside major cities. Data costs limit how much artists can engage with digital platforms. The very tools that enable global distribution are out of reach for many.
Business Knowledge. The music industry runs on more than talent. It requires understanding contracts, royalties, marketing, audience building, brand partnerships. These skills are not widely taught in Zimbabwe. Artists learn through costly trial and error, if they learn at all.
Local Focus. Most Zimbabwean artists create music for Zimbabwean audiences. This is natural, but it limits growth. The mindset of "international from day one" is rare.
The Opportunity Before Us
Despite these challenges, I see genuine reasons for optimism.
First, digital platforms have eliminated traditional gatekeepers. You no longer need a major label to reach global audiences. Spotify, Apple Music, YouTube, TikTok: these tools are available to anyone with internet access and quality music. The barriers are lower than they have ever been.
Second, there is growing appetite for diverse African sounds. Listeners who discovered Afrobeats are curious about what else the continent offers. This curiosity creates space for new sounds to emerge. Zimbabwe's musical traditions, particularly the sophisticated guitar work of Sungura and the political consciousness of Chimurenga, offer something genuinely distinctive.
Third, our diaspora community is stronger than ever. Zimbabwean artists based in the UK, US, South Africa, and beyond are building bridges between audiences. They carry our sounds into new contexts, creating awareness that benefits everyone.
Fourth, a new generation of artists thinks differently. Young musicians like Kim Makumbe, Teymar, TAPIWA, and Yadis are blending traditions with contemporary production from the start. They are not waiting for permission. They are creating the future now.
My Vision
Here is what I believe must happen for Zimbabwean music to achieve its potential.
Embrace Authenticity. Oliver Mtukudzi did not succeed by imitating American or European artists. He succeeded by being unmistakably Zimbabwean. The same principle applies today. We should not abandon Amapiano or Afrobeats influences, but we must filter them through our own identity. When I blend Sungura guitar with modern production, I am not rejecting contemporary sounds. I am adding something only Zimbabwe can offer.
Think Global From Day One. Every song I create, I ask myself: can this connect with someone who has never been to Harare? Can these emotions translate across cultures? This does not mean abandoning Shona lyrics or local references. It means crafting music with universal emotional appeal while maintaining cultural specificity.
Build Ecosystems, Not Just Careers. Lord Empire Music is not only about my own releases. It is about creating infrastructure that supports other Zimbabwean artists. Studios, knowledge sharing, collaborative opportunities: these benefit everyone. When one artist breaks through, it opens doors for others.
Invest in Business Education. Talent alone is not enough. We need artists who understand contracts, who can negotiate deals, who know how to build and monetize audiences. This knowledge should be shared freely within our community.
Collaborate Across Borders. Working with producers and artists from other countries exposes our sounds to new audiences while bringing fresh perspectives to our work. Collaboration is not compromise. It is expansion.
The Path Forward
I do not claim to have all the answers. Building an industry is collective work that will take years, perhaps decades. But I am committed to contributing what I can.
Every track I produce is an experiment in what Zimbabwean music can become. Every artist I work with through Lord Empire Music is a potential ambassador for our sound. Every listener who discovers my music and asks "where is this from?" is a small victory.
The future of Zimbabwean music is not predetermined. It will be shaped by the choices we make today. By the standards we hold ourselves to. By the risks we are willing to take.
I choose to believe that our breakthrough is coming. Not because it is inevitable, but because I see artists across Zimbabwe working toward it with dedication and vision. The talent is undeniable. The heritage is rich. The hunger is real.
What remains is the work. And I am here for it.
The world will hear Zimbabwe. That is not a hope. It is a commitment.
This is my commitment as an artist, as a producer, and as a Zimbabwean. This is what I, Taona Oswald Chipunza, am building.
