Zimbabwean rapper Desmond “Stunner” Chideme has launched a scathing attack on the Zimbabwe Music Rights Association (ZIMURA), condemning the body for underpaying artists after revelations that celebrated gospel singer Sabastian Magacha earned just US$120 for an entire year of radio airplay and digital streams. The disclosure has sparked outrage within the local music community, and Stunner, a high-profile UK-based artist, has emerged as one of the loudest voices demanding accountability as ZIMURA prepares to elect a new board of directors.
In a viral social media post, the “Godo” hitmaker did not mince words. He challenged the capability and dedication of the sixteen candidates nominated for ZIMURA’s board, questioning whether they understood the severity of the financial struggles facing Zimbabwean musicians. Stunner’s intervention comes at a pivotal time; the association, responsible for collecting and distributing royalties on behalf of creatives, is undergoing leadership renewal, and public scrutiny of its operations has never been higher.
“What exactly is the job of these new board members?” Stunner asked, highlighting the central grievance: if ZIMURA exists to protect artists’ incomes, why are grassroots musicians receiving peanuts for work that continues to generate revenue for broadcasters, venues, and businesses? He painted a picture of systemic neglect, citing incidents where performers were not paid for gigs and everyday royalty streams — from radio spins to background music in supermarkets and restaurants — seemingly vanish into opaque institutional processes.
Stunner Blasts ZIMURA: Calls for Transparency and Fair Pay for Zimbabwean Artists
Stunner called for transparency and a full forensic audit of ZIMURA’s collections and distributions. Using clear arithmetic, he illustrated how revenues should translate into fair earnings for artists. With multiple radio stations and commercial establishments paying licensing fees, he argued that an average artist ought to receive far more than the meager sums currently reported. Instead, he noted, many musicians earn less than US$200 annually from royalties — an amount grossly disproportionate to the value their work creates for the industry.
His post resonated with struggling musicians who have long suspected that collected funds are not reaching intended beneficiaries. Writing in Shona, Stunner expressed the collective frustration: “Takafirwa and no one came to aid,” capturing the sense of abandonment felt by creatives who pour their lives into their craft yet remain unsupported. He also questioned the lifestyle of certain industry figures, noting that the cars and symbols of wealth he observed among administrators could not be reconciled with the paltry payments artists receive.
Beyond financial grievances, Stunner’s critique targeted governance issues. He criticized the board selection process, lack of regular reporting, and the failure to prioritize artists’ welfare. He stressed that candidates for the board must demonstrate more than industry connections; they must commit to structural reform, regular audits, and mechanisms that ensure equitable payment. He urged artists and stakeholders to use the upcoming elections as a platform to push for meaningful change rather than recycling familiar faces.
Stunner’s intervention is particularly timely. With global streaming revenues low and Zimbabwe’s local economy making independent monetization difficult, the role of collective management organisations like ZIMURA has never been more critical. When managed properly, they can act as lifelines for artists, aggregating rights, licensing usage, and ensuring fair compensation. Mismanagement, however, turns them into gatekeepers that siphon money away from those whose creative work generates value.
Calls for reform have been growing, amplified by social media and industry discussions. Artists now demand clear, publicly available financial statements, transparent per-play or per-stream rate calculations, and defined timelines for royalty distributions. They also want education on how collection societies operate and what documentation is required to claim their dues.
For Stunner, this is more than a personal grievance; it is a broader plea for dignity, fairness, and sustainability in an industry that fuels culture and livelihoods. His fiery critique serves both as a warning and a rallying call: if ZIMURA and other stakeholders fail to act decisively, the consequences will ripple across Zimbabwe’s creative ecosystem.
As ZIMURA prepares to elect a new board, the local music community will be watching closely, hoping that this moment of exposure will lead to real reform, fairer pay, and renewed respect for the artists who sustain Zimbabwe’s music scene. Stunner’s message is clear: accountability, transparency, and equitable treatment are not negotiable, and the future of the industry depends on it.
Source- iHarare
