Calls for Zimbabwe to develop a structured and sustainable recorded music industry are gaining momentum, with industry stakeholders urging government, policymakers and the private sector to adopt long-term reforms that can transform the country’s creative economy.
The Music brief with P Mashingaidze
In a policy paper titled How to Build Zimbabwe’s Recorded Music Industry, music executive and copyright advocate P.T. Mashingaidze argues that while Zimbabwe possesses exceptional musical talent, the country lacks the institutional framework needed to convert that talent into a globally competitive industry. He proposes that Zimbabwe draw lessons from South Africa by adapting and partnering with successful industry models suited to the local environment.
Among the key recommendations is stronger government oversight through deliberate policy, increased public investment, and financial support for the music sector. The paper highlights the need for functional record labels, music publishers, distribution companies, royalty collection systems, anti-piracy enforcement, and robust digital infrastructure to support artists in the streaming era.
The document also advocates for educational reform, calling for greater business and legal training for artists so they can better understand copyright, licensing, contracts and intellectual property. It further encourages government-backed digital solutions that would enable Zimbabwean musicians to access international platforms such as Spotify, Apple Music and YouTube while protecting their rights through modern technologies, including blockchain-based copyright systems.
Mashingaidze also proposes positioning music as a tourism asset, arguing that successful Zimbabwean artists should be strategically promoted to strengthen the country’s international brand. He cites amapiano singer Shasha as an example of an artist whose international success could have been better leveraged to market Zimbabwe globally.
The paper further recommends reinstating stronger local music broadcasting quotas, drawing inspiration from Zimbabwe’s previous local content policies and regional examples such as Namibia’s music content requirements. According to the author, consistent policy implementation, regardless of changes in public office, will be essential in creating a thriving music ecosystem capable of generating employment, protecting cultural heritage and increasing the sector’s contribution to the national economy.
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