Afro-fusion superstar Jah Prayzah has reignited heated debate after making a surprise return to his trademark military attire during a family show at Jongwe Corner in Hatfield on August 10.
The award-winning musician, born Mukudzeyi Mukombe, stunned the crowd when he stepped onto the stage clad in full camouflage — a look that once defined his image but later became a source of sharp controversy. The moment instantly set social media ablaze. Admirers celebrated the bold fashion comeback, describing it as a nostalgic throwback to his roots, while critics were quick to question the wisdom of reviving a symbol that carries political baggage.
For many fans, the sight was a reminder of the era when Jah Prayzah’s “military touch” was not just a brand but a cultural phenomenon. His band, Third Generation, became synonymous with the army-inspired aesthetic, and his long-standing collaborations with the Zimbabwe Defence Forces reinforced that identity. Nearly a decade ago, the Zimbabwe National Army even named him its official goodwill ambassador, cementing his reputation as a musician whose artistry blurred the line between popular culture and state power.
The relationship reached its zenith in 2017 with the release of Kutonga Kwaro, a chart-topping anthem infused with heavy military undertones. At the time, the song seemed like just another infectious hit in Jah Prayzah’s catalogue. But as political events unfolded, it took on a life of its own. When the military intervened in November 2017 to oust the late President Robert Mugabe and install Emmerson Mnangagwa, Kutonga Kwaro was adopted as the unofficial anthem of the so-called “Second Republic.” Soldiers danced to it in the streets, Zanu PF played it at rallies, and the lyrics appeared to celebrate Mnangagwa as a conquering hero.
Jah Prayzah Sparks Debate With Surprise Return to Military Gear
While the song’s prominence cemented Jah Prayzah’s status as Zimbabwe’s biggest star at the time, it also quickly turned into an albatross. Many critics accused him of being co-opted by the junta to provide the soundtrack of a coup. Reports later surfaced suggesting that elements within military intelligence had influenced the song’s messaging, with some claiming its lyrics were crafted to glorify Mnangagwa — who is referenced by his Shumba totem in the track.
The fallout was swift. For years, Jah Prayzah struggled to shake off the perception that he was the military’s chosen musician. His camouflage stage outfits, once considered innovative branding, were reinterpreted as political uniforms. In the eyes of many urban youths and opposition supporters, Jah Prayzah was no longer just an entertainer but a symbol of complicity in the excesses of state power. As Zimbabwe’s military and ruling party faced mounting accusations of human rights abuses, violent crackdowns, and suppression of dissent, Jah Prayzah’s image became tainted by association.
Recognising the growing backlash, the artist gradually shed his military persona. He stopped performing in camouflage and reinvented his stage image into something more neutral, leaning into a pan-African identity rather than one tied to Harare politics. Musically, he expanded beyond the Zimbabwean soundscape, collaborating with some of the continent’s biggest names — from Tanzania’s Diamond Platnumz to Nigeria’s Davido and South Africa’s Mafikizolo. This strategic rebrand worked. Jah Prayzah was increasingly seen as a continental Afro-fusion act, a versatile hitmaker whose appeal stretched far beyond the political dramas of his homeland.
It is this context that makes his return to military gear so provocative. For supporters, it is simply Jah Prayzah reclaiming an old artistic identity, perhaps without any political intent. They argue that the camouflage was always part of his creative DNA, an aesthetic linked to discipline, strength, and Zimbabwe’s liberation history. Nostalgic fans at Jongwe Corner cheered loudly as the “General” reappeared in uniform, many noting that it felt like the return of a long-lost persona.
For critics, however, the timing and symbolism are harder to ignore. Zimbabwe remains a nation where the army’s involvement in politics is deeply contentious. Images of soldiers in camouflage still evoke memories of crackdowns on protestors, disputed elections, and state violence. For these audiences, Jah Prayzah’s decision risks reopening old wounds, especially as debates about freedom, democracy, and military influence continue to dominate Zimbabwe’s political discourse.
Whether the move was a one-off stylistic throwback or a deliberate attempt to reclaim a controversial identity remains unclear. What is certain is that Jah Prayzah has once again succeeded in placing himself at the centre of Zimbabwe’s cultural conversation. Love him or criticise him, his artistry continues to provoke, challenge, and spark debate.
As the dust settles, fans and critics alike will be watching closely to see if this marks a full-fledged return of the “military touch” or merely a nostalgic detour in Jah Prayzah’s ever-evolving career.
Source- ZimEye
