Macheso Speaks Out as ZIMURA Crisis Deepens

Alick Macheso

Sungura legend Alick Macheso says his “heart bleeds” for local musicians amid escalating turmoil at the Zimbabwe Music Rights Association (ZIMURA), accusing the association’s leadership of failing to uphold transparency and accountability.

ZIMURA, registered in 1982 as a collective management organisation, is mandated to protect, license, and manage copyrights for composers, authors, and publishers. However, the association is now facing internal divisions, governance allegations, and growing dissatisfaction among members over royalty payouts.

Leadership Rift and Avondale Flats Controversy

Reports indicate widening tensions between the board and management, with some board members pushing for an extraordinary general meeting to address longstanding grievances.

At the centre of the unrest was a January 12 public notice concerning the alleged illegal sale of two flats in Avondale, Harare. Although the transaction was initially approved, it was later reversed following public outrage over alleged irregularities.

Despite the cancellation, the episode has reportedly damaged ZIMURA’s reputation and triggered a leadership crisis. The election of First Farai Batani as vice chairperson has further fuelled tensions, with reports suggesting internal contestation within the six-member board.

Former executive director Polisile Ncube-Chimhini stepped down last month after three decades in office, following a 2025 fraud conviction. Her departure has reportedly deepened instability rather than resolving it.

Royalty Disparities Spark Outrage

In September 2024, ZIMURA distributed US$95 000 in royalties to more than 3 500 members. While top earners reportedly received over US$2 000 based on airplay from stations such as Star FM and Diamond FM, some musicians are said to have received as little as US$3.

The disparities have angered many artists. Sungura musician Romeo Gasa questioned why he received just US$41 for an album that earned US$700 in the ZBC Top 50 competition. Producer and songwriter Charles Ayibeki, who writes for Sekuru Gudo, said he was paid only US$5.60 for his hit song “Weru.” He alleged that officials classified the track as a “folk song” to justify the low payout and declined to disclose total collections before deductions.

Macheso Weighs Membership Exit

Macheso, despite being one of ZIMURA’s top earners, said musicians’ frustrations are justified.

“The chaos at ZIMURA exists for a reason. Musicians do not make noise without cause,” he said. “This association does not belong to those in power it belongs to every member.”

He criticised a system that allegedly forces artists to travel long distances to collect royalties that do not cover transport costs.

“We do not know the criteria used and we are told certain songs are no longer considered for royalties how is that possible?”

Macheso revealed he is reconsidering his decades-long membership.

“ZIMURA exists because of us artistes, but what is happening now is not what we signed up for. I am considering cancelling my membership.”

Management Responds

Acting deputy director Henry Makombe dismissed claims of bullying and lack of transparency, saying public notices were issued to ensure openness. Batani also defended the royalty system, stating in a video posted online that payouts are based on airplay and usage data.

“There is a functional system in place. It is unfortunate that some musicians demand more when their music is simply not being played,” he said.

Industry at a Crossroads

As tensions simmer, confidence within Zimbabwe’s music industry has been shaken. Veteran artistes like Macheso warn that urgent reforms are needed to restore trust in the association tasked with protecting their livelihoods. Whether ZIMURA can regain credibility may depend on its ability to address governance concerns, improve transparency, and rebuild faith among its members.

ZIMURA crisis