Nash Paints Music Shutdown Leaves Former Signed Artists Struggling to Regain Momentum

The Zimbabwean music industry has entered a period of reflection following the closure of Nash Paints’ music promotion division, a move that has significantly affected several rising artists who once thrived under its support. The shutdown, announced by businessman Tinashe Mutarisi on December 9, 2025, marked the end of a short but highly visible era in which Nash Paints played a major role in promoting local music talent. The decision was attributed to personal challenges, but its impact quickly became evident across the hip-hop scene. Artists who were once heavily promoted under the label have since experienced a noticeable decline in visibility and commercial momentum. The phrase “Ziva Tinashe ndo Mutarisi,” which once dominated social media conversations, has largely faded from public discourse, reflecting how quickly industry trends can shift.

At the centre of this shift are four artists who were signed under the Nash Paints music promotion structure: Saintfloew, Nisha Ts, Ninety Six and Raymer. During their time under the label, these artists enjoyed strong promotional backing that boosted their presence on streaming platforms, event lineups and social media engagement. The structure provided them with increased exposure and positioned them as key figures in Zimbabwe’s evolving hip-hop landscape. However, after the division was shut down, that visibility appears to have weakened significantly. Among the four, only Nisha Ts has managed to maintain a consistent presence on major show posters and within mainstream conversations.

Saintfloew, one of the most prominent beneficiaries of the Nash Paints era, experienced a rapid rise in popularity that included high-profile collaborations such as his work with South African rapper Kwesta on “Bag Sera Jah Man.” His career trajectory during the Nash Paints period positioned him as one of the leading voices in Zimbabwean hip-hop. However, following the end of the label’s promotional support, his momentum has slowed noticeably. While he continues to perform at various events, reports suggest that his performance fees have decreased compared to his peak period under the label. His recent release “Gucci and Dior Felt” recorded approximately 78,000 views within 10 days, a significant drop from earlier releases that previously surpassed 500,000 views within just two days. This shift highlights the challenges artists face when transitioning from structured promotional systems to independent operations.

Ninety Six has also experienced a decline in mainstream visibility since the closure of the promotion division. His presence in the industry has become more concentrated on digital platforms, particularly TikTok, where he remains active through live sessions and short-form content. While this keeps him connected to a segment of his audience, it has not translated into sustained influence within the broader music industry. His transition reflects a growing trend among artists who rely heavily on social media engagement when traditional promotional support is no longer available. However, without strong industry backing, maintaining consistent relevance has proven difficult.

Raymer appears to have been the most affected by the closure of the label’s music division. He signed with Nash Paints at a time when his career was beginning to gain momentum and he was starting to benefit from professional exposure. However, shortly after the shutdown, his progress stalled, and his visibility in the music scene declined sharply. Many fans who were initially introduced to his music during the Nash Paints era have since shifted attention elsewhere. His case illustrates how quickly emerging artists can lose traction when promotional structures collapse early in their development.

Among the four, Nisha Ts stands out as the only artist who has managed to maintain relative stability in her career. She continues to feature on event lineups and has released tracks such as “Ndiwe Here” and “Musazonditsiure,” which have achieved moderate success. While these songs have not reached the same level of impact as her earlier work under the Nash Paints banner, they demonstrate her ability to remain active and relevant in a competitive environment. Her continued presence suggests that independent effort, combined with prior exposure, can still sustain a career even after major industry support is withdrawn. However, maintaining long-term consistency remains a challenge.

The broader Zimbabwean hip-hop scene has also experienced fluctuations during this period. At times, the industry has appeared relatively quiet, with limited high-impact releases dominating mainstream attention. The release of “Risky Life 3” by Holy Ten temporarily reignited interest in the genre, highlighting how quickly momentum can shift based on individual artist output. This environment has made it even more difficult for former Nash Paints artists to reclaim their earlier visibility. Without consistent promotional backing, competition for audience attention has become increasingly intense.

Industry observers have noted that the decline in engagement for these artists reflects the importance of structured promotion in modern music careers. While talent remains essential, visibility and marketing play a critical role in sustaining momentum in a digital-first industry. The Nash Paints model demonstrated how quickly artists can rise when supported by strong branding and promotional networks. However, its closure also revealed how fragile that success can be when such systems are removed. The current situation serves as a case study in the relationship between corporate sponsorship and artistic sustainability.

As the year progresses, all four artists continue to release new music in an effort to rebuild their presence. However, the data suggests that their collective momentum has slowed compared to their peak under Nash Paints. Audience engagement, streaming numbers and public visibility have all shown signs of decline for most of the group. Whether they can regain their previous status will depend on their ability to adapt to independent promotion strategies and rebuild strong audience connections. The transition period remains uncertain, with outcomes still unfolding.

The closure of Nash Paints’ music promotion division has reshaped the trajectories of Saintfloew, Nisha Ts, Ninety Six and Raymer in significant ways. While each artist continues to pursue their career, the absence of structured support has exposed the challenges of sustaining visibility in a competitive industry. Nisha Ts currently shows the strongest signs of continuity, while the others are still navigating the effects of the transition. Their journeys highlight both the opportunities and risks that come with reliance on promotional partnerships in music. As Zimbabwe’s hip-hop landscape continues to evolve, their next moves will determine whether they can rebuild their earlier success or remain symbols of a short-lived but impactful era.