Tinashe Mutarisi’s highly anticipated Saintfloew concert suffered a devastating setback on Saturday night after drawing an unexpectedly small audience, with most music fans choosing to attend Jah Prayzah’s packed show at the Harare International Conference Centre (HICC). What was billed as one of Saintfloew’s biggest performances of the year instead turned into a sobering moment for the young rapper and his team.
For weeks, Mutarisi’s Nash Paints-backed promotions had built significant hype around the City Sports Centre show, aiming to recreate the electrifying atmosphere of Saintfloew’s October 2023 album launch. That event became one of the most talked-about live performances of the year, especially after the rapper dramatically emerged from a coffin onstage—an audacious stunt that stirred nationwide conversation and cemented his status as one of Zimbabwe’s boldest new-school artists.
However, this past weekend’s attempt to rekindle that momentum fell flat.
By 9:30 PM on Saturday, it became clear that the night had taken an unexpected turn. The once-hyped City Sports Centre sat largely empty, its wide space punctuated by rows of unoccupied chairs and scattered clusters of fans. The atmosphere—described by some attendees as “eerie” and “deflating”—was captured in photographs that quickly spread across social media, prompting immediate commentary from music lovers and industry observers alike.
Online reactions ranged from sympathetic to brutally honest, with many users pointing out the stark contrast between the sparse attendance at Saintfloew’s show and the overflowing crowds at Jah Prayzah’s HICC concert held at the same time.
Several factors were cited as contributing to the disappointing turnout.
Saintfloew Show Falters as Fans Flock to Jah Prayzah’s Sold-Out HICC Concert
The most significant was the direct clash with Jah Prayzah, one of Zimbabwe’s most established performers, whose concerts consistently draw thousands. Known for his polished stagecraft, elaborate choreography, and strong multi-generational following, Jah Prayzah remains one of the few artists able to reliably sell out major venues regardless of economic conditions.
“It was never going to be easy to compete with JP, especially on a Saturday night,” one fan commented online. “He just commands a different level of attention.”
Indeed, social media was filled with images and videos showing the HICC bursting at the seams, fans singing along to hit after hit. The comparison only intensified the perception that Saintfloew had been overshadowed.
Zimbabwe’s ongoing economic challenges were also widely cited. With schools reopening soon, many families are prioritising school fees, uniforms, and transport over entertainment. Several users noted that attending concerts—especially multiple shows within a short period—simply isn’t feasible for many households.
“The timing was just bad,” one Facebook user noted. “People don’t have extra money for shows right now.
Others pointed to possible shortcomings in the event’s promotion strategy. While posters and social media announcements circulated in the weeks leading up to the show, some critics argued the marketing lacked the drive, innovation, and visibility needed to command attention in an increasingly competitive entertainment space.
Promoters were also questioned for choosing to schedule the event on a night when Zimbabwe’s biggest mainstream artist was headlining a major concert. Many felt the clash was avoidable and ultimately detrimental to Saintfloew’s numbers.
Saintfloew’s low turnout did not occur in isolation. It followed closely after another disappointing launch—this time involving Tocky Vibes, a once-dominant urban grooves musician who has struggled in recent years to draw the kind of crowds he attracted at the peak of his career.
The back-to-back poor attendances have revived conversations about the shifting dynamics of Zimbabwe’s live music scene. Are fans becoming more selective? Are new genres and emerging artists fragmenting audiences? Or is the harsh economic reality reducing entertainment spending, leaving only top-tier acts like Jah Prayzah capable of filling large venues?
Industry analysts suggest the answer may be a combination of all three.
For Saintfloew—whose meteoric rise has been supported by a dedicated youth fanbase and the strategic backing of businessman Tinashe Mutarisi—the night was a reminder of the volatility of the music industry. While his talent, creativity, and loyal following remain undeniable, Saturday’s outcome underscores the importance of timing, careful planning, and assessing the competitive landscape.
Despite the disappointment, supporters expressed hope that the rapper will bounce back, noting that every artist faces setbacks. Many urged his team to regroup, rethink event strategies, and prepare for future shows with a stronger, more calculated approach.
A social media page summed up the general mood by posting an image of the half-empty venue with the caption: “Sad scenes at Saintfloew’s album launch. This comes soon after Tocky Vibes also had a poor launch. Only a few fans showed up.”
As conversations continue online, one thing is clear: the weekend has sparked an important discussion about the realities facing Zimbabwe’s musicians—and the challenges of staging large-scale shows in difficult economic times.
Source- ZimEye
