ZIMURA’s Calculator Crisis: All Royalties Are Equal, But Some Figures Are More Equal Than Others

Conflicting statements from ZIMURA leaders over 2025 royalty figures spark transparency concerns, raising questions about governance, financial reporting and trust within Zimbabwe’s music rights body

HARARE — A fresh wave of scrutiny has engulfed the Zimbabwe Music Rights Association (ZIMURA) after conflicting public statements by senior officials about the organisation’s 2025 royalty collections triggered a credibility crisis and renewed questions about transparency and governance.

The controversy began during an appearance on the Ollah7 Podcast, where ZIMURA Deputy Director Henry Makombe stated that the organisation collected approximately US$475,650 in royalties in 2025. Board chair Goodchild Gwenzi was present and appeared to endorse the figure. The statement was delivered as a clear and definitive account of annual collections.

However, days later during an interview on Earground, Gwenzi was asked to confirm the same figure. He did not verify the amount and said he was unsure, creating confusion over the official position. The conflicting responses from two senior leaders of the same institution raised public concerns about record-keeping accuracy and internal alignment on financial reporting.

The issue escalated further on ZTN’s The Chase, where Makombe was expected to address the discrepancies. He withdrew shortly before recording, citing concerns about the panel composition. Gospel musician Tembalani remained on the programme and called for dialogue and patience, positioning himself as a mediator between artists and management. His stance drew mixed reactions, particularly against reports that some musicians receive annual royalties as low as US$8.

Another unresolved question relates to the status of Chipfumbu, reportedly dismissed from ZIMURA, whose name is said to still appear on official registration documents filed after his removal. No formal clarification has been issued regarding this matter.

Publicly referenced historical figures also present an uneven picture. Reported collections include ZWL $1.2 million in 2019, ZWL $2.3 million in 2020, ZWL $3–4 million between 2021 and 2022, and varying figures for 2023–2024 depending on the platform cited. No recent audited financial statements have been released to reconcile the discrepancies.

Governance analysts note that royalty collection bodies depend heavily on trust, transparency and consistent reporting. In the absence of audited figures and unified communication, artists and stakeholders continue to question the reliability of the numbers being presented. Until an official, audited account is provided, the debate over ZIMURA’s finances is likely to persist.