Inconsistency In ZIMURA Figures Raises Alarms: Artistes Stunned….
By Advent Shoko
HARARE – Zimbabwe’s music industry is demanding answers after figures presented by the Zimbabwe Music Rights Association (ZIMURA) exposed troubling gaps between money collected and money reaching artists.
At ZIMURA’s 2025 Annual General Meeting (AGM), officials stated that US$1.6 million was collected in 2024. But subsequent public remarks by board members appeared to contradict that, with one suggesting totals “fluctuate” and another referencing figures closer to US$450,000. The inconsistencies have triggered alarm among musicians who already feel excluded from meaningful royalties.
For many artists, the issue is not just accounting, it is survival. ZIMURA claims to represent around 5,000 members, yet most say they receive little or nothing. A handful of top earners reportedly get several thousand dollars a year, while many musicians with regular radio airplay and online streams say they have never seen a payout.
One emerging artist summed up the frustration:
“I’ve had airplay on national radio, my songs are streamed online, but I still haven’t received a single payout. Meanwhile, I hear executives get paid more in a month than I’ll ever see in a year.”
Meanwhile, established musician Chief Hwenje, known for the hit song Mai Well Hit, says he received just US$80 in royalties, despite the track once becoming a nationwide anthem. Frustrated by the figures, Hwenje warned that artistes may join the advocacy group Musicians for ED, saying they want to push ZIMURA toward greater transparency and fairer distribution of artists’ earnings.
Zimura Staff Got Paid More than Artistes
Details shared by ZIMURA after the 2025 AGM, outlining how 2024 revenue was used, have intensified the backlash. The figures show US$575,756 went to staff costs, while US$475,650 was paid out in artist royalties. In simple terms, employees collectively received over US$100,000 more than all musicians combined.
Administrative expenses were also high relative to distributions, strengthening perceptions that internal operations are consuming a large share of collections before artists are paid. For musicians already questioning how royalties are calculated, this imbalance feels like confirmation that the system is not working in their favour.
How Payouts Are Calculated – And Why Artists Are Confused
ZIMURA official Alexio “Goodchild” Gwenzi recently explained that the association does not charge broadcasters per song. Instead, it collects 3.5% of ZBC’s total advertising revenue, which is then distributed to artists based on reported airplay.
On paper, the formula sounds straightforward. If ZBC earns US$1 million in advertising, ZIMURA would receive US$35,000. Songs played more frequently are supposed to receive a larger share. But the model has weaknesses. If advertising revenue drops, so do artist earnings, even if songs are heavily played.
The system also depends on accurate reporting from broadcasters, leaving room for disputes and mistrust. For artists expecting payment based purely on popularity, the link between ad revenue, airplay logs and final payouts remains murky.
Policy Missteps And Governance Turbulence
Tensions have been worsened by controversial policy decisions. In 2025, ZIMURA introduced a US$150 licensing fee for live cover bands, a move criticised by some as excessive. The Ministry of Justice later intervened and suspended the tariff, citing regulatory concerns. Governance instability has added to the uncertainty. In early 2026, three board directors were removed amid internal disputes reportedly linked to protocol issues and a property transaction. Rival collecting society ZICCO has since positioned itself as a more transparent alternative, increasing pressure on ZIMURA to clean up its image.
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