Zimbabwean rapper Desmond “Stunner” Chideme has unleashed a blistering attack on the Zimbabwe Music Rights Association (ZIMURA), accusing the body of shortchanging artists after revelations that gospel star Sabastian Magacha received just US$120 for a year’s worth of radio airplay and digital streams. The revelation has ignited fresh outrage across the local music community, and Stunner — a high-profile, UK-based artist — has become the most vocal critic, demanding accountability as ZIMURA prepares to elect a new board.
In a social media post that quickly gained traction, the “Godo” hitmaker did not hold back. He challenged the competence and commitment of the sixteen individuals nominated to sit on ZIMURA’s board, questioning whether they grasp the seriousness of the financial crisis facing the country’s musicians. Stunner’s intervention arrives at a pivotal moment: the association, tasked with collecting and distributing royalties on behalf of creatives, is due for leadership renewal, and scrutiny of its operations has never been higher.
“What exactly is the job of these new board members?” he asked, cutting to the heart of the grievance: if an organisation exists to protect creatives’ incomes, why are grassroots artists receiving pittance for work that continues to generate revenue for broadcasters, venues, and businesses? Stunner painted a picture of systemic neglect, citing instances where musicians were not paid for gigs and where everyday royalty streams — from radio spins to background music in supermarkets and eateries — appear to vanish into institutional black boxes.
He called for transparency and a full forensic audit of ZIMURA’s collections and disbursements. Using blunt arithmetic to make his point, Stunner outlined how revenue should translate into meaningful earnings: with dozens of radio stations and multiple commercial venues paying licensing fees, an average artist ought to see significantly more than the paltry sums currently being reported. Instead, he contended, many artists scrape by on less than US$200 a year from royalties — an amount utterly disproportionate to the cultural and economic value of their work.
Stunner Criticizes ZIMRA for Low Artist Royalty Payments
Stunner’s post struck a chord with many struggling musicians who say they have long suspected that collected funds are not reaching their intended beneficiaries. “Takafirwa and no one came to aid,” he wrote in Shona, invoking the sense of abandonment felt by artists who pour their lives into their craft only to be left unsupported when the revenues roll in. He also questioned the lifestyle of certain industry figures, implying that the cars and other symbols of wealth he’s observed among some administrators cannot be reconciled with the sparse payments artists receive.
Beyond financial complaints, his critique targeted governance: the selection process for board members, the lack of regular, clear reporting, and the failure to prioritise artists’ welfare. Stunner suggested that those seeking positions on the board must demonstrate not just industry connections but a commitment to structural reform, regular audits, and improved distribution mechanisms that ensure equitable payment. He urged artists and stakeholders to use the upcoming elections as an opportunity to push for meaningful change rather than merely recycling familiar faces.
The timing of Stunner’s intervention is crucial. With the industry already bruised by low streaming revenues globally and a local economy that makes independent monetisation difficult, the role of collective management organisations like ZIMURA is more important than ever. Properly run, they can be a lifeline — aggregating rights, licensing usage, and returning fair shares to creators. Mismanaged, they become a gatekeeper that funnels money away from the very people whose work makes the system valuable.
Calls for reform have been growing louder in recent weeks, amplified by social media and conversations in music circles. Many artists now want clear, publicly available statements of accounts, evidence of per-play or per-stream rate calculations, and timelines for distributions. There is also a demand for artist education so creatives understand the mechanisms of collection societies and the documentation required to claim their dues.
For Stunner, the issue is not just personal indignation but a broader plea for dignity and sustainability in an industry that drives culture and livelihoods. His fiery message serves as both a warning and a rallying cry: if ZIMURA and other stakeholders do not act decisively, the consequences will be felt across the creative ecosystem. As the association prepares to elect its new board, the music community will be watching closely — hopeful that this moment of exposure will herald real reform, fairer pay, and renewed respect for the artists who keep Zimbabwe’s music scene alive.
Source- iHarare
