Albert Nyathi Reignites Debate on Fame and Fortune in Zimbabwe’s Music Industry

Albert Nyathi, a renowned dub-poet, writer, and arts administrator, has sparked a vital conversation about the socio-economic realities of Zimbabwe’s music industry. The debate centers on the seeming disconnect between fame and fortune, a phenomenon explored in Nyathi’s thesis titled Intersections of Fame and Fortune: The Socio-economic Realities of the Zimbabwe Music Industry. His academic exploration earned him a Master of Philosophy degree in Ethnomusicology from Midlands State University (MSU), where he was capped alongside 6,479 graduates by President Emmerson Mnangagwa.

Despite his lighthearted assertion that he studied for fun, Nyathi’s thesis is a critical contribution to understanding the struggles faced by many Zimbabwean musicians. The study sheds light on why fame does not always equate to financial success, a dilemma that has plagued many artists, even those who were once household names. Nyathi’s research highlights that despite achieving fame, several musicians, such as Patrick Mkwamba, Peter Tangwena, and Job Mashanda, have faced financial hardship and, in some cases, were even given pauper’s burials.

Drawing from his personal experience as a performer and administrator, Nyathi calls for a paradigm shift in how Zimbabwean musicians approach their careers. He believes that much of the industry’s struggles stem from a lack of professional education and business acumen. In his thesis, Nyathi argues that musicians need to sign lucrative contracts, adopt professional business practices, and secure health and life insurance to ensure long-term sustainability. He also advocates for musicians to invest wisely and develop a safety net for when their careers inevitably face downturns.

A key focus of Nyathi’s research is the evolution of the music industry in Zimbabwe and the necessity for artists to adapt to technological advancements. The shift from traditional CD sales to digital platforms has left many musicians lagging behind. Nyathi stresses that artists must embrace digital platforms to remain relevant and profitable, as the old ways of generating income from physical sales are no longer effective in today’s digital age.

Furthermore, Nyathi’s study delves into the broader socio-economic issues that exacerbate the plight of musicians. These include weak business management practices, exploitative contracts, and the country’s fragile macroeconomy. He points out that many artists are underpaid due to inadequate compensation for their work and the widespread violations of copyright laws.

Nyathi’s thesis provides an insightful comparison with the music industries in more developed countries, where music is recognized as a legitimate and lucrative career. He references the success stories of international icons like Beyoncé, Elton John, and Michael Jackson, who have achieved immense wealth and recognition through savvy marketing and business strategies. He notes that such success is still possible in Zimbabwe, but it requires a shift in both mindset and approach.

In his conclusion, Nyathi emphasizes that the music industry in Zimbabwe has evolved significantly over the years, with more people now involved in its various facets. However, he points out that only a few artists, such as the late Oliver Mtukudzi, have been able to sustain themselves financially through music. The perception that all popular musicians are wealthy, a belief fueled by the success of a handful of artists, is misleading and does not reflect the harsh realities faced by most.

Nyathi’s research comes at a time when the music industry, like many others, has been severely impacted by the COVID-19 pandemic. Many musicians struggled to make ends meet during the lockdowns, relying on food handouts and charity. The pandemic, however, also led to some artists diversifying their income streams, demonstrating the importance of not putting all eggs in one basket.

Nyathi’s thesis not only addresses the age-old debate on fame and fortune but also offers practical recommendations for musicians to secure their financial futures. His work serves as a wake-up call for both the industry and its fans, urging a more thoughtful and strategic approach to music as a viable career. As the industry continues to evolve, Nyathi’s research provides valuable insights into how Zimbabwean musicians can thrive in an increasingly globalized and digital world.