Edith WeUtonga has leveled sharp accusations against veteran Zimbabwean musician Albert Nyathi, alleging that he misled members of the Zimbabwe Music Rights Association (ZIMURA) during a recent Annual General Meeting (AGM). In a post that has since been deleted, Edith criticized Nyathi for focusing the AGM on the Zimbabwe Musicians Union (ZIMU) instead of addressing the pressing issues affecting ZIMURA members, including royalties and transparency within the organisation.
“Zvino kana murume mukuru wakuita Zimbabwe Musicians Union, your agenda at your flop AGM zvinobuda here?” Edith questioned, suggesting that Nyathi, rather than engaging with members’ concerns, used the platform to push an unrelated agenda. She contended that motions aimed at halting or redirecting the AGM were ignored, and that Nyathi imposed the meeting on attendees regardless of their objections.
Edith went further to challenge Nyathi’s credibility, asserting that he falsely claimed to have been a member of ZIMU. “For the record, the man in the picture (Albert Nyathi) has never been a member of the union, yet he told a full house of 100 members out of 5,000 that he was and had quit. When?” she wrote, highlighting what she perceived as a deliberate attempt to mislead attendees and avoid accountability.
She expressed concern over what she described as a broader pattern of dishonesty. “One wonders just how many more lies were told on the day just to get through it and avoid answering the hard-hitting questions from the people. Your lack of transparency, integrity, and honesty has failed an entire industry and denied musicians of their royalties,” Edith stated, emphasizing her belief that Nyathi’s actions had tangible negative consequences for the music community.
While the post was later removed from her social media account, Edith did not mince words, using strong Ndebele-language insults to underscore her frustration. She tagged fellow music figures Nkululeko Dube and Raisedon Baya, urging them to intervene. “Please bafo, bambeni umdala lo… nxa iyi dementia simelaphise. The cancer ayitshiye eZIMURA has him all over it. And if he wants to talk about ZIMU, kabuye la! Nyathi Albert,” she wrote, implying that Nyathi’s actions were detrimental to ZIMURA and the industry at large.
Nehanda Radio followed up with Albert Nyathi for comment. Nyathi responded by noting that Edith had not confronted him directly about her grievances during a meeting in Bulawayo the night before Babongile Sikhonjwa’s funeral. While he did not provide a detailed rebuttal to the allegations, he highlighted that the matters raised publicly had not been addressed to him in person, suggesting a disconnect between the social media accusations and face-to-face dialogue.
Edith WeUtonga has publicly accused Albert Nyathi of dishonesty, claiming he misrepresented his membership status with the Zimbabwe Music Union (ZIMU).
The controversy has drawn attention to the challenges within Zimbabwe’s music industry, particularly regarding the administration of musicians’ rights and royalties. ZIMURA, as the body responsible for collecting and distributing royalties to local artists, has faced scrutiny over transparency and governance, and this latest dispute between prominent figures has reignited debates on accountability and trust within the organisation.
Edith’s post, though now deleted, illustrates the depth of frustration felt by some artists and stakeholders in the industry, who feel that leadership mismanagement has hindered fair remuneration and recognition. By publicly challenging Nyathi, she has drawn attention to both the role of leadership in musicians’ unions and the necessity for honesty and transparency in advocacy efforts.
As of now, the matter remains unresolved publicly, with Nyathi’s response limited to his statement about Edith not approaching him directly. The exchange has nonetheless sparked wider conversation among Zimbabwean musicians, fans, and industry observers about governance, representation, and the integrity of those entrusted to protect artists’ rights.
The dispute underscores the tension between individual agency, social media activism, and institutional accountability. While Edith’s criticisms were personal and pointed, they touch on larger questions about how musician organisations operate, the transparency of their proceedings, and the responsibility of leaders to the people they represent.
In conclusion, the clash between Edith WeUtonga and Albert Nyathi highlights ongoing challenges in Zimbabwe’s music sector, where questions of legitimacy, transparency, and advocacy continue to influence debates over artist rights, union governance, and industry integrity. Edith’s outspoken remarks, though provocative, have succeeded in drawing attention to issues of accountability within ZIMURA, setting the stage for further discussion among stakeholders about the future of the organisation and its role in protecting Zimbabwean musicians.
