Xenophobia disrupts regional music scene

Rising anti-immigrant sentiment across Southern Africa is increasingly spilling into the entertainment industry, with festivals cancelling performances, revising line-ups and rethinking cross-border collaborations amid mounting political tensions.

What has long been a thriving cultural exchange between Zimbabwean and South African artistes is now facing growing strain as immigration debates reshape public attitudes and influence entertainment events across the region.

Industry players say the fallout is already affecting livelihoods, with some artistes losing bookings, promoters making last-minute programme changes and festival organisers reviewing contracts to avoid public backlash.

"This is no longer just about entertainment — it's about survival for some artistes," said one Harare-based event organiser.

"You can have a fully booked international act today and lose them tomorrow because of online pressure."

The impact has become increasingly visible at several high-profile events.

South African musician Musa Keys was removed from the line-up of The Mighty Zambezi Bonfire Festival, scheduled for Saturday at Donnybrook Park in Harare, after organisers unveiled a revised poster featuring only Zimbabwean performers following growing pressure on social media.

Similarly, South African music duo Mafikizolo was dropped from Sunday's Buddie Beatz concert, a decision that sparked debate over whether entertainment should remain separate from political tensions or reflect prevailing public sentiment.

Beyond Zimbabwe, reports indicate that Zimbabwean and other foreign performers have also experienced cancellations or reduced bookings at some township festivals in South Africa amid growing calls to prioritise local talent.

Although some organisers have not publicly confirmed the cancellations, industry stakeholders say the trend reflects increasing sensitivity around booking foreign artistes.

Promoters say they are now factoring public opinion into their planning alongside traditional considerations such as budgets, logistics and audience demand.

The result has been more cautious programming, fewer regional headline acts and greater reliance on local performers.

The Mighty Zambezi Bonfire Festival, returning after a four-year break, has become one of the clearest examples of the changing landscape.

Traditionally centred on outdoor entertainment, live music and cultural storytelling around a communal bonfire, the festival had initially planned to feature regional collaborations.

However, organisers have shifted the focus to Zimbabwean artistes, with the revised line-up including Djembe Monks, Kotwane Hikwa, DJ Klique, ExQ, WowRae, Sam Cosmic, Takura and Tammy Moyo.

Despite the changes, organisers said the festival remains committed to preserving its original identity.

"The Mighty Zambezi Lager Bonfire Festival has always been more than just an event; it is a unique lifestyle and cultural experience made for our Zambezians," organisers said.

"It brings us together to enjoy Zambezi Lager and celebrate the great outdoors, music and storytelling while building connections around the warmth of one large, unifying bonfire."

Ahead of the main event, organisers staged a series of Bonfire Micro Events in Kadoma, Bulawayo and Harare to rebuild momentum following the festival's extended absence.

The uncertainty extends beyond a single event.

In recent weeks, fans have also called for South African singer Makhadzi to be removed from the line-up of Alick Macheso's upcoming Cheso Power Festival, highlighting the growing influence of immigration debates on entertainment programming.

While some organisers have responded to public pressure by revising their line-ups, others warn that the increasing politicisation of music festivals threatens decades of regional cultural cooperation.

They argue that continued disruption could weaken artistic exchange, limit opportunities for performers and reduce the regional appeal that has helped sustain Southern Africa's live entertainment industry.

As immigration tensions continue to dominate public discourse, festival organisers and promoters increasingly find themselves balancing audience expectations, political sensitivities and the commercial realities of staging successful live events.