Chivayo tribute song sparks social media storm

A recently released tribute song by a group calling itself Trabablas Legendary Musicians has ignited intense debate on social media, highlighting the complex intersection of art, politics, and survival in Zimbabwe's music industry.

The track, dedicated to controversial businessman Wicknell Chivayo, lauds his philanthropic gestures and frames them as an embodiment of President Emmerson Mnangagwa's "Leaving no one and no place behind" mantra. In the lyrics and accompanying visuals, the musicians praise Chivayo for "uplifting creatives" and "empowering communities" through donations ranging from vehicles to cash handouts for artists, footballers, politicians, and church leaders.

The video was filmed at the Trabablas Interchange in Harare is gospel musician Noel Zembe, whose inclusion has intensified debate. Some sympathize with his personal struggles, while critics argue that financial desperation should not compromise artistic integrity.

Cultural commentators say the controversy reflects the fragile economics of Zimbabwe's creative sector. "There are no meaningful royalties to sustain musicians. Digital revenue is negligible locally, physical sales are dead, and corporate sponsorship is thin. When someone flashes money, artists will respond," said a Harare-based music critic. Musicians have long complained about weak copyright enforcement, limited performance opportunities, and a lack of structured funding, making philanthropy — however controversial — an attractive lifeline.

Others, however, argue that artistic legacy should not be tied to political patronage. "Legends must guard their names carefully. When you tie your art to political patronage, you risk reducing it to propaganda," said one critic. Social media posts have warned that future generations could perceive the country as one where poverty and political alignment dictated creative output.

The choice of Trabablas Interchange as a backdrop is widely seen as symbolic. As a visible infrastructure project associated with the Second Republic, filming there and adopting its name situates the musicians within a narrative of national development and loyalty to the president.

Supporters argue that philanthropy deserves recognition regardless of politics. "If someone is helping artists and communities, why shouldn't musicians sing about it?" asked a music promoter. "Music has always praised patrons — from kings to businessmen."

The debate underscores a recurring tension in Zimbabwean arts: where does genuine appreciation end, and political alignment begin?