Andy Muridzo Apologises to Jah Prayzah in Public Reconciliation Gesture
- Southerton Business Times

- 4 days ago
- 2 min read

AFRO-fusion artist Andy Muridzo has issued a public apology to his former mentor Jah Prayzah, ending years of public criticism and drawing widespread praise across Zimbabwe’s music industry. The reconciliation follows a prolonged period of tension that began after Muridzo left Jah Prayzah’s Military Touch band in 2017 and later escalated into repeated verbal attacks and public jibes. Muridzo delivered the apology through a new song that doubles as a public plea, an approach observers describe as both creative and symbolic.
Muridzo’s exit from Military Touch marked a major turning point in his career. While Jah Prayzah strengthened his position as one of Zimbabwe’s leading musicians, Muridzo’s path proved more uneven, with fewer commercial highs. Commentators say the contrast in fortunes contributed to lingering resentment that played out publicly over the years. In the apology track, Muridzo asks fans and the nation to support his effort to make amends and to recognise the value of mentorship and mutual respect in the arts.
Jah Prayzah responded promptly on social media, accepting the apology and assuring Muridzo that there are no hard feelings. He encouraged his former protégé to embrace his talent and continue pursuing his musical ambitions. The exchange was warm and forward-looking, with both artists signalling a willingness to move on. Industry insiders say Jah Prayzah’s tone helped ease tensions and set a constructive example.
Music commentators and cultural stakeholders have welcomed the reconciliation as a positive moment for the sector. Public feuds between established stars and former protégés can strain professional networks, divide audiences and distract from creative output. By using music itself as the medium of apology, Muridzo not only acknowledged past mistakes but also demonstrated how artistic expression can support healing.
The episode also highlights the role of mentorship in Zimbabwean music. Senior artists often help emerging performers gain exposure, build industry links and access platforms. When such relationships fracture, the consequences can be both personal and professional. This reconciliation underscores the importance of repairing mentorship ties and resolving disputes in ways that strengthen the creative community.
Attention now turns to whether the renewed goodwill could lead to collaboration, joint performances or mentorship initiatives. For Muridzo, the gesture may help restore industry relationships and visibility; for Jah Prayzah, the response reinforces his standing as a senior figure willing to extend grace. For the wider sector, the moment serves as a reminder that humility and reconciliation can contribute to a healthier creative ecosystem.






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