Sungura is arguably Zimbabwe’s signature sound, instantly recognizable at home, yet still struggling to achieve international recognition due to limited human and financial resources. Thankfully, the genre is gaining traction regionally, especially in South Africa (Limpopo), Botswana, and Mozambique, where fans are vibing to the sound. Zimbabwean expatriates are also contributing to spreading the music as we spread our homes across the region.
By Tinashe Mutero
Sometime in 2024, I met a Mozambican national in the Ndumo area of northern KwaZulu-Natal playing old-school Sungura. I greeted him in Shona, assuming he was Zimbabwean, only for him to explain how popular the music had become in Mozambique.
Despite its regional appeal, the genre has faced stunted growth in Zimbabwe. Many new artists struggle to distinguish themselves, whether in sound innovation or creative marketing. The worst marketing attempts have involved tarnishing the name of Alick Macheso, which has not served the genre well.
On a brighter note, contemporary urban producers have been borrowing from Sungura, digitizing the sound. EXQ immediately comes to mind with his Sungura-infused sound. His track Pahukama, which features Jah Prayazh and DJ Tamuka is with no doubt inspired by Shiringinya by Vijana Sounds. And lately, Tamy Moyo has embraced this homegrown sound, transitioning from being a media darling to an artist whose music truly resonates with audiences. Tamy’s Husiku hwese featuring Mark Ngwazi has both smooth vocals and visuals that do not oversell poverty. She sells an aspirational life!
The Next Generation: Sungura’s Revival, One Aspirational Beat at a Time
Some recent Sungura projects have been surprisingly exciting, especially from new entrants. DanMag Magara is one of the emerging talents making an impact. Most of his time is spent at his day job, but his debut single Munamato Wangu (“My Prayer”) a heartfelt prayer for his parents’ long life, carries a message that will resonate deeply with young adults. This is the generation just starting their careers or those who’ve migrated to the UK and are now in a position to care for their parents back home.
DanMag’s Sungura sound is impressively clean, and judging from his social media videos, he can reproduce his studio quality in live performances. He also enlisted the skills of Obert Mangani,“Father Ten Years” a former Mark Ngwazi guitarist. Father Ten Years’ mature guitar work adds depth to the album. The result? Solid!
Paradzai Hamano is another rising star,besides being my sekuru (uncle) and former Form 6 classmate at Mkoba 3. He joined our school for A’ Level after spending most, if not all, of his formative years in rural schools. I highlight this rural background because I believe it gives him a creative advantage over some contemporaries who were overexposed to urban radio and struggle to craft music that is uniquely theirs.
With Hamano’s music, unonzwa kuti iyi sungura yaridzwa nemunhu aizvivaraidza nemuridzo achitsvaka mombe. Clive Mono Mukundu has what he calls the whistle test; Paradzai’s music passes the Whistle test! His songs are simple yet captivating. They have that incidental music quality, melodies that creep into your mind until you find yourself humming them without realizing.
My favourite track of his is Ityai Mwari (“Fear God”), a heartfelt reminder to revere the Almighty, who sees all, including what we do in secret. It’s a vital message in this age of “Gospelpreneurship,” where verbalizing faith often overshadows living it through kindness to family, neighbours, and community.
One can only hope that even with these soul-searching messages, the new wave of Sungura artists resists overselling poverty or excessive humility. In today’s market, what truly sells is aspiration, not deprivation!
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