Nutty O Responds to Nota Baloyi’s Call for a Boycott and Urges Zimbabweans to Support Local Music
Zimbabwean musician Nutty O has entered the conversation surrounding South African music executive and podcaster Nota Baloyi’s call for South African artists to boycott performances in Zimbabwe. While Baloyi’s remarks sparked heated debate across social media and the entertainment industry, Nutty O offered a different perspective by encouraging Zimbabweans to focus on strengthening their own music industry. Instead of centering the discussion on whether South African artists should perform in Zimbabwe, the award-winning artist challenged Zimbabweans to invest more energy in supporting local talent. His comments have reignited conversations about national pride, cultural identity and the importance of building a sustainable music industry from within.
The debate began after Nota Baloyi urged South African musicians to reject bookings in Zimbabwe, arguing that artists should stage a cultural boycott over political and humanitarian concerns. His comments divided opinion, with some supporting the idea that entertainers should use their platforms to take political stands while others argued that music should remain a bridge between people regardless of political tensions. Baloyi’s remarks quickly spread across social media, prompting responses from artists, fans and commentators throughout Southern Africa. The discussion has since evolved beyond politics to include broader questions about the growth of local creative industries. It was within this context that Nutty O decided to share his thoughts.
Rather than directly attacking Baloyi’s position, Nutty O suggested that there was an important lesson Zimbabweans could take from the controversy. In a social media post, he questioned whether Baloyi was completely wrong and encouraged Zimbabweans to place greater value on their own artists. “Was Nota entirely wrong?? I don’t think so. Vana vevhu love your own, promote your own and remember no one is gonna do it for you. Ko vacho vakambozviita vakazvigona sei, until u start looking beyond hype netuma profits you will build your shiii. Zimbabwe music to the world simple, start from there or muchatukwa kusvika machema kuti maihweee,” he wrote. His message emphasized that long-term success begins with consistent local support rather than depending on outside recognition.
In another post, Nutty O expanded on his position, saying the debate should inspire Zimbabweans to become more intentional about supporting local talent. He argued that the issue was straightforward and did not require complicated analysis. “It’s not deep, hapadi kana chikoro. Nota issue is just a reminder that love yours, support yours and be proud of yours. Zimbabwe has better music, better everything saka it’s time we believe this and push for this no matter how long it takes zvakaitao vamwe tozviita.” His comments reflected his belief that confidence in Zimbabwean creativity is essential if local artists hope to compete successfully on the international stage. Rather than focusing on what happens outside the country, he encouraged people to first strengthen what exists at home.
Nutty O also addressed the ongoing issue of xenophobia, acknowledging the challenges many Zimbabweans have faced while living in South Africa. He described the attacks and discrimination experienced by some Zimbabwean nationals as unfortunate and deeply concerning. At the same time, he argued that the situation should motivate Zimbabweans to unite and prioritize their own creative industries. According to the musician, the best response is to support one another and work collectively to elevate Zimbabwean talent. His remarks shifted the conversation from confrontation to self-improvement, suggesting that lasting progress comes from building stronger local institutions and audiences.
As part of his message, Nutty O encouraged fans, radio stations, DJs and entertainment venues to give greater exposure to Zimbabwean artists. He specifically called for music by local performers such as Bagga, Hulungende and Tamy Moyo to receive more airtime and dominate club playlists. He questioned whether Zimbabweans had fully tested the potential of consistently promoting their own musicians before looking elsewhere. By challenging audiences to spend entire nights celebrating local music, he highlighted the role listeners play in shaping the industry’s future. His proposal underscored the idea that commercial success often depends on loyal home support before international recognition follows.
The discussion has also sparked wider conversations about how Zimbabwe’s music industry can continue to grow despite increasing regional competition. Many artists have long argued that stronger support from local audiences, broadcasters and event organizers is necessary to build sustainable careers. Nutty O’s comments reinforce the belief that a thriving entertainment industry requires collective commitment from musicians, fans, promoters and businesses alike. While international collaborations remain valuable, many believe they should complement rather than replace investment in homegrown talent. His message therefore resonates beyond the current controversy and speaks to the long-term development of Zimbabwean music.
The differing perspectives expressed by Nota Baloyi and Nutty O illustrate the complexity of the ongoing debate. While Baloyi focused on the political implications of South African artists performing in Zimbabwe, Nutty O chose to highlight the opportunities available when Zimbabweans actively support their own musicians. His response encourages people to transform controversy into motivation by strengthening the country’s creative sector from within. Whether or not people agree with either viewpoint, the conversation has drawn renewed attention to the importance of cultural identity, national pride and local industry development. As Zimbabwe’s music scene continues to evolve, Nutty O’s call to “Zimbabwe to the world” serves as a reminder that lasting success often begins with believing in and investing in local talent.
