Sofar Sounds Harare Celebrates International Women’s Month With Powerful Tribute to Zimbabwean Women in Music and Art

March marked International Women’s Month across Zimbabwe, bringing a wave of cultural events dedicated to celebrating the achievements, resilience, and creativity of women. Among the standout experiences was a special Sofar Sounds Harare concert hosted at Chapungu Sculpture Park, a venue known for its calm natural setting and artistic significance. The event embraced the global theme of gender equality while connecting it with music and climate awareness in a uniquely Zimbabwean context. It brought together artists, visual creators, and audiences in an intimate setting that encouraged reflection and appreciation. The result was an evening that blended performance, education, and emotional storytelling in a way that left a lasting impression.

The concert was curated under the theme Connecting Music, Gender Equality and Climate Change, creating a layered cultural experience that extended beyond entertainment. Alongside live performances, the event featured a visual art exhibition that showcased works from Lin Barrie, Kimberly Magaya, Delight Mudziwapasi, Anopa Shonhe, and Nokuthula Mpodu. Their paintings and drawings added depth to the space, reinforcing the message of creativity as a tool for awareness and empowerment. Handmade jewellery by Amanda Le Brenton and ceramics by Tingting Wu further enriched the atmosphere, turning the venue into a multi sensory cultural space. The combination of music and visual art created a dialogue between different forms of expression, all centred on women’s voices and environmental consciousness.

Before the performances began, the show experienced minor technical challenges with live sound, which were later explained by MC Michar Mushiko. The issues were linked to novice female sound engineers who were being mentored after a recent training workshop. The workshop was organised by HerStage, an initiative founded by musician Mary Anibal to address gender gaps in technical roles within the entertainment industry. It focused on training women in stage management, sound engineering, artiste liaison, and other behind the scenes roles. Facilitators included engineer and vocalist Zvikomborero Shayamano, freelance sound engineer Gloria Saungweme, and Climate Youth leader Tafadzwa Kurotwi. These efforts highlighted a growing movement to ensure women are represented not only on stage but also in technical production spaces.

Despite the early technical setbacks, the audience response remained calm, patient, and deeply respectful. There was no disruption or negativity from the crowd, even as adjustments were made during the opening moments of the show. The natural setting of Chapungu Sculpture Park played a role in maintaining the peaceful atmosphere, but so did the emotional awareness of the audience. Many attendees appeared to understand that the event carried a larger purpose beyond flawless execution. The focus was on empowerment, learning, and visibility for women in creative industries, and the audience embraced that message fully.

The performances that followed reflected a wide range of artistic styles and cultural influences. Matalamanda opened the show with spiritually rooted folk music, performing Zumba raVashe, Yairire Ngoma, and Gona Rinorapa on a single instrumental arrangement. Her set carried deep cultural and spiritual meaning, even as she navigated the early sound challenges. Poet, activist, and instrumentalist Chioneso Rutsito followed with a powerful performance that included Shumba Inodzvova, Varipasi, Vasiya Vana, and Marry for Money. Her stage presence and expressive delivery drew comparisons to legendary mbira performer Stella Chiweshe, reinforcing her impact on the audience.

One of the most memorable collaborations of the evening came from Verity Tichawangana and pianist Sekai Zengeza, performing under the name Verekai. Their set included classical and contemporary pieces such as All of Me by John Legend, Salut d’Amour by Edward Elgar, Malaika by Miriam Makeba, Liebesleid by Fritz Kreisler, and Oliver Mtukudzi’s Neria. Their performance showcased technical skill, emotional depth, and artistic versatility. The duo’s debut at Sofar Harare demonstrated the strength of female musicianship across genres. Their ability to blend global classics with African musical heritage stood out as one of the night’s defining moments.

Mary Anibal brought energy and cultural pride to the stage with performances of Nditarirei, Siti, and Gogoride. She also introduced various mbira instruments, engaging the audience with humour and interactive storytelling. Her presence reflected what many described as Black Girl Magic, as she connected with both younger and older audience members through charm and authenticity. Her performance style balanced education and entertainment, making traditional music accessible to a modern audience. This approach helped reinforce the importance of cultural preservation through contemporary platforms.

A standout moment occurred when Tichawangana returned to the stage for a collaborative performance with Mary Anibal and Jacob Mafuleni. The trio performed a mbira and violin interpretation of Chiwoniso Maraire’s Mai under ultraviolet lighting beneath a large tree. The setting created a dreamlike atmosphere that heightened the emotional impact of the performance. The audience responded with visible emotion as nostalgia filled the space, especially during the lyrical tribute to maternal love and memory. The performance became one of the most talked about highlights of the evening.

Veteran dancer and Afrikera Arts Trust founder Soukaina Edom delivered a deeply symbolic performance that transformed the stage into a spiritual space. Her barefoot movements and expressive choreography told a story of grief, memory, and maternal longing. Dressed in a black gown with a white headscarf, she embodied a spiritual presence that many interpreted as a symbolic ancestral figure. Her performance added a theatrical and emotional dimension that elevated the entire event. It reinforced the idea that performance art can carry both personal and collective meaning.

The concert closed with a powerful set from classically trained artist Tahle We Dzinza, who delivered songs including Love Is a Friend, Damage, What Ya Know, and Ghost Town. She introduced her set with honesty and humour, encouraging the audience not to take her emotionally charged lyrics personally. Her performance explored themes of love, heartbreak, and emotional complexity with raw vulnerability. Despite the intensity of her set, the audience remained engaged until her final note faded into the night. Her closing performance captured the emotional depth of the entire event.

Sofar Sounds Harare’s International Women’s Month edition became more than a concert, it became a cultural statement. It highlighted the strength, diversity, and creativity of Zimbabwean women across music, visual art, and performance. The event showed how art can connect social issues such as gender equality and climate awareness in meaningful ways. It also demonstrated the importance of creating spaces where women are not only performers but also technical contributors and leaders. In the end, the evening stood as a powerful reminder of the role women continue to play in shaping Zimbabwe’s cultural identity.