Zimbabwe Music Rights Association Addresses Royalty Concerns Amidst Artist Dissatisfaction
The Zimbabwe Music Rights Association (Zimura) has stepped forward to address recent concerns voiced by musician Chillmaster regarding his royalty earnings. Chillmaster, a prolific artist with a catalogue reportedly exceeding 17 popular songs, publicly expressed his disappointment with the remuneration received from Zimura, questioning the value of his membership.
Chillmaster took to social media platform Facebook to articulate his grievances. He stated, “Out of all these songs I have listed down there, I have earned less than US$800 from Zimbabwe Music Rights Association. So what’s the point of being a member of Zimura then?” This sentiment highlights a perceived disconnect between artistic output and financial reward within the current royalty system.
The artist further elaborated on the impact of these low earnings, noting that it has significantly affected his motivation to create and submit new material for consideration in future years. He indicated that live performances have become a more dependable and lucrative source of income compared to royalties collected through Zimura.
Among Chillmaster’s well-known hits are tracks such as “Ndiudze Zvese,” “Horror,” “Makanaka,” “Kudiwa Chaizvo,” “Wakahwina Kare,” and “Dai Mandiropadza.” His discography also includes other notable releases like “Ndaremerwa,” “Judas Iscariot,” “Hazvisi Kutambirika,” and “Mhepo.”
In response to these concerns, Zimura chairperson Alexio Gwenzi offered clarification, suggesting that the artist’s dissatisfaction may stem from a misunderstanding of the intricacies of the royalty distribution system. Gwenzi emphasized Zimura’s commitment to ensuring its members have a clear comprehension of how royalties are calculated and disbursed.
“It is Zimura’s responsibility to ensure that members clearly understand how the system works,” Gwenzi stated in an interview. “We appreciate these questions as they help bring to light both our challenges and those affecting composers and the general public.”
Gwenzi proceeded to elucidate the fundamental principles governing royalty payments. He stressed that the amount of royalties an artist receives is not directly proportional to the sheer volume of songs they have produced. Instead, the primary determinant is the actual usage frequency of their music.
Understanding the Royalty Mechanism
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Usage is Key: Gwenzi clarified, “Firstly, having a large catalogue of music does not automatically translate to higher royalty earnings. Royalties are strictly driven by usage. If the music is not being played or tracked, it cannot generate income.” This underscores the importance of airplay, public performance, and digital streaming for generating revenue.
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Collection Limitations: Even when music is played on radio or other platforms, Zimura can only distribute funds that have been successfully collected from the users of that music. The organization currently faces a significant challenge in the form of over US$1 million in unpaid royalties from various entities.
“We are working tirelessly to recover this debt for our composers,” Gwenzi asserted, highlighting Zimura’s efforts to reclaim owed funds.
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External Competition and Legal Rulings: Gwenzi also brought to light an issue involving a competing organization that has been collecting funds purportedly belonging to Zimura members. This matter has reportedly been adjudicated by the High Court, with the ruling favouring Zimura.
“This has significantly reduced the revenue we receive compared to previous years,” Gwenzi explained, indicating the financial impact of this ongoing dispute.
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Arrears and Lag Time: A crucial aspect of the royalty system, as explained by Gwenzi, is that payments are made in arrears. This means that distributions reflect the music usage from the preceding year.
“For example, money distributed in 2025 was for music used in 2024. If an artist had a hit in 2025, those earnings will only be reflected in the 2026 distribution,” he elaborated. This lag time can lead to a perception of low earnings if not properly understood.
Gwenzi concluded by reiterating that the primary obstacles to timely and substantial payouts are external factors, rather than inherent inefficiencies within Zimura’s operations. Despite these challenges, the organization remains dedicated to its mission.
“However, we remain committed to renegotiating contracts and recovering every cent owed to our creators,” Gwenzi affirmed. Zimura’s statements aim to provide transparency and educate artists on the complex realities of music rights and royalty collection in Zimbabwe.
