Jo Stak: Zimbabwean Singer Who Rose to Fame in China Returns Home in Search of Recognition

Jo Stak In performance (Image Source)

In 2017, a young man named Joe Takawira, known to fans as Jo Stak, captured the hearts of millions in China with his flawless Mandarin and soulful voice. Draped in a vibrant red tuxedo jacket, Jo Stak’s rendition of the classic Chinese hit The World Needs Warm Hearts on The Voice of China earned him a standing ovation and launched him into the spotlight of Shanghai's bustling music scene. For years, Jo Stak was a fixture on Chinese television, music bars, festival stages, and weddings, performing in Mandarin and English with a unique blend of African warmth and Asian charm. His Mandarin covers went viral on Douyin — China’s TikTok — amassing over five million followers. One of his 37 recorded songs even broke into the top 10 on Baidu Music.

Yet, while he was a celebrated figure in Shanghai, his arrival back in Zimbabwe in 2019 marked a dramatic shift. The expiration of his work visa ended his seven-year stint in China, forcing him home to a very different reality. Back in Harare, in the working-class suburb of Budiriro 5 where he grew up, Jo Stak walks a quieter path. His music — still vibrant, still heartfelt — struggles to break through a domestic music scene vastly different from the one that embraced him overseas. “I was surprised by my success in China,” he admits. “I was just doing what I loved — singing, performing, living freely.”

“The Chinese love me,” he says wistfully, recalling how a recent video of him singing Mandarin, shared by his Chinese employer on WeChat, went viral among old fans asking, “Where is this guy?”

In Zimbabwe, the challenges are stark: limited access to digital platforms like Douyin, lack of response from local media outlets, and a market that does not yet understand the appeal of a Zimbabwean singing Mandarin pop.

“I feel like a part of me stayed in China,” Jo says, reflecting on how disconnected he feels from the audiences that once cheered him on. His attempts to submit music to Zimbabwean radio stations were met with silence. Despite working as a Mandarin interpreter for a Chinese mining company — a stable job that leverages his language skills — his passion remains music. At 32, he continues to write and dream of rebuilding his career either at home or on a stage abroad. Jo’s musical journey began long before Chinese fame. Raised in a Methodist church school choir and steeped in gospel music, he nurtured his voice and passion early on. Inspired by Jackie Chan movies and Chinese culture, he moved to Shanghai at age 20 to study Mandarin, quickly achieving fluency and a remarkable cultural bridge few could cross.

His first paid gig at a tiny Shanghai music bar earned $1,500 — enough to live on for months. Performing with the multicultural Foundation Band, Jo Stak brought a fresh voice blending African soul with Chinese pop, breaking stereotypes and captivating audiences.

His success challenged expectations, proving that cultural and linguistic barriers can be overcome with talent and determination. Jo’s story is as much about cross-cultural opportunity as it is about the stark divide between Zimbabwe’s music ecosystem and the highly interconnected Chinese entertainment world. China’s digital platforms like Douyin and WeChat are gateways to millions, while Zimbabwe’s radio and media infrastructure remain largely insular.

“Without Chinese social media being global, I lost the audience that nurtured me,” Jo explains. “That digital gap cost me my career momentum.” Rebuilding a music career in Zimbabwe requires navigating a fragmented media space, limited promotional avenues, and a local audience largely unfamiliar with Mandarin or his unique style. Jo’s dreams are defined by hope and realism. He envisions a fresh start in Harare, seeking opportunities to fuse his African roots with the Asian influences that shaped his music identity. He also contemplates returning to China, where his music was embraced, and the applause was a regular reward.

Whether on African soil or Asian stages, Jo Stak’s story of cultural fusion and ambition symbolizes the growing global footprints of Zimbabwean artists. His journey highlights how talent can transcend borders but also how fragile cross-cultural success can be without sustained support and access to platforms. Jo Stak’s voice may be softer in Harare today, but it still carries the ability to captivate audiences across continents. The question remains: will Zimbabwe recognize and nurture the rare international talent returning home, or will it slip quietly back into obscurity?