Zimbabwe’s Creative Industry Shifts Toward Independence as Everton Mlalazi Expands Ekhaya Worship Festival

Zimbabwe’s creative industry continues to face pressure from a difficult economic environment that has reshaped how musicians work, earn and build their careers. Many artists still depend heavily on promoters for live shows both locally and internationally, which limits their control over income streams and long-term growth. This reliance has become a major challenge as opportunities fluctuate and funding becomes harder to secure. In response, a growing number of musicians are now shifting toward independence by creating their own platforms and managing their own events. This change reflects a broader push for sustainability in the arts sector, where creativity is increasingly tied to entrepreneurship and strategic planning.

The shift in mindset is pushing artists to move away from what is often described as dependency on external gatekeepers. Instead of waiting for promoters to book shows, musicians are being encouraged to actively build their own audiences and brands. This includes investing in marketing, digital presence and consistent content creation to attract partnerships. It also involves developing long-term business thinking rather than focusing only on short-term performance opportunities. The goal is to create systems that allow artists to control their careers and reduce reliance on unpredictable booking cycles. This transformation is gradually reshaping how success is defined in Zimbabwe’s music industry.

One of the strongest examples of this approach is gospel musician Everton Mlalazi, who has built a reputation for independence and innovation in the creative space. Mlalazi has positioned himself as a leading figure in gospel music by not only performing but also creating platforms that elevate other artists. His career reflects a deliberate move toward ownership and control of artistic output. Instead of waiting for opportunities, he has focused on building his own brand and staging large-scale events that attract both audiences and sponsors. This strategy has helped him expand his influence beyond Zimbabwe and into regional and international markets.

At the centre of his work is the Ekhaya Worship Festival, a growing gospel event that has become one of the most anticipated fixtures on Zimbabwe’s arts calendar. The name Ekhaya, meaning “home” in Ndebele, reflects the festival’s focus on unity, faith and cultural connection. The event has developed into more than a concert, serving as a symbolic homecoming for Mlalazi, who hails from Tsholotsho. It brings together worshippers and artists in an atmosphere centred on praise, prayer and spiritual upliftment. Over time, the festival has expanded its reach and gained recognition for its organisation, scale and consistency.

The second edition of the festival is set to take place on Africa Day at Hartsfield Rugby Stadium, marking another milestone in its growth. This year’s event has received a significant boost through sponsorship from Nyaradzo Group, a diversified company offering life assurance, funeral services and event management solutions. The partnership is expected to improve production quality, expand the stage setup and increase the number of participating artists. Corporate involvement at this level signals growing confidence in gospel music as a commercially viable and culturally influential sector. It also highlights how structured and professional event planning can attract major institutional support.

Mlalazi publicly welcomed the sponsorship, describing it as a key step in expanding the festival’s reach and impact. He highlighted that the partnership would allow for a larger audience, improved production and a more diverse lineup of performers. The involvement of ticketing platform Tikiti Events has also strengthened the event’s operational structure. These collaborations show how partnerships between artists and businesses can create sustainable models for large-scale cultural events. They also demonstrate the importance of trust and consistency in building long-term relationships within the creative economy. For Mlalazi, these developments reinforce his belief in building systems rather than relying on chance opportunities.

The growth of the Ekhaya Worship Festival is also seen as a reflection of increasing corporate recognition of gospel music’s influence. As attendance grows and production standards improve, more companies are viewing the sector as a valuable space for engagement. This shift is helping to elevate gospel music from purely spiritual gatherings to professionally managed cultural events with economic impact. It also provides artists with better platforms to showcase their talent while generating revenue and visibility. The festival’s expansion shows how structured planning can transform artistic vision into a sustainable brand.

This year’s lineup further highlights the festival’s ambition and regional reach. Artists such as Oncemore Six, Zanele Mokhethi, Pastor Barak, Zimpraise, Family Voices and Mwenda Shimunzhila are set to perform, alongside Takesure Zamar Ncube, Dumi Mkokstad, Canaan Nyathi and others. The inclusion of international and regional acts reflects the festival’s growing influence across Southern Africa and beyond. It also reinforces its role as a platform for collaboration among different worship styles and generations. The diversity of performers adds depth to the event while strengthening its appeal to a wide audience.

As Zimbabwe’s creative industry continues to adapt to economic pressure, the model demonstrated by Everton Mlalazi and the Ekhaya Worship Festival offers a clear example of self-driven growth. It shows how artists can build sustainable careers by taking ownership of their platforms and engaging directly with audiences and sponsors. This approach reduces dependency on traditional structures and creates new opportunities for expansion. The success of such initiatives suggests a shift in how the arts sector may evolve in the coming years. It highlights a future where creativity, business strategy and cultural identity work together to shape stronger and more resilient artistic careers.