HARARE – The Zimbabwean music industry, a vibrant but often challenging landscape for its artists, finds itself grappling with a scandal that has cast a harsh light on its underlying struggles. At the centre of this storm is the legendary “Wamatakas” hitmaker, Gift Amuli, now embroiled in a US$4,000 fraud allegation that has left many questioning the integrity of the sector and the welfare of its stars.
Amuli, a veteran musician whose melodies once captivated the nation, stands accused of a significant breach of trust. The sum, while seemingly modest to some, represents a profound betrayal in an industry where an artist’s reputation is their most valuable asset. This investigation delves beyond the immediate police report, exploring the “poverty trap” that ensnares many of Zimbabwe’s musical icons, where a severe lack of royalties and a dwindling live-show circuit push even the most respected figures towards desperate, and at times, illicit actions.
The Allegations: A Non-Existent Stand for a Vehicle
The specifics of the fraud case against Gift Amuli are stark. Memory Kubungaidze, a 39-year-old woman from Budiriro, alleges that she traded her VW Golf Caravelle Wagon for what she believed was a residential stand in Seke. The agreement, struck in July 2025, saw Amuli allegedly misrepresenting ownership of the Seke farm stand. Kubungaidze’s suspicions arose when Amuli reportedly blocked her calls, and his wife claimed no knowledge of the transaction. A subsequent check with Seke Rural District Council officials confirmed her fears: the residential stand did not exist. “Amuli lied to me that he had a residential stand for sale in Seke and we agreed to exchange the stand with my vehicle,” Kubungaidze stated. The matter has since been reported to Machipisa Police Station, with Harare provincial police spokesperson Inspector Luckmore Chakanza confirming the ongoing investigation into the US$4,000 fraud.
This incident is not Amuli’s sole recent brush with the law. He recently spent a weekend in police custody following a separate cyberbullying accusation lodged by fellow musician First Farai. This additional legal entanglement further complicates his public image and highlights a period of significant personal and professional turmoil for the artist.
A Broken System: The “Star System” and “Hand-to-Mouth” Existence
Amuli’s predicament, while specific, is symptomatic of a much larger, systemic issue within the Zimbabwean music industry. Promoters and fellow musicians paint a grim picture of a “hand-to-mouth” existence that forces many into a relentless cycle of debt and “advance-payment” scams. The glamour of the stage often masks a desperate struggle for basic survival, a tragic reality in a collapsing economy. This is not merely the story of a fallen idol, but a scathing critique of the “star system” itself, which, in its current form, celebrates its artists while simultaneously allowing them to starve.
Many musicians, despite years of national acclaim, find themselves living on meagre resources. The economic situation in Zimbabwe, characterised by high poverty rates and an informal sector largely supporting day-to-day survival, exacerbates these challenges. Artists, like many other citizens, are often forced to take desperate measures to make ends meet.
The Royalty Crisis: ZIMURA Under Scrutiny
Central to the financial plight of Zimbabwean musicians is the pervasive “royalty crisis.” Artists often receive mere pennies for millions of radio plays, a stark contrast to the earnings seen in more robust music economies. This issue is compounded by predatory contracts that leave veteran musicians with little to no savings after decades of dedicated work. The “culture of advances,” where artists are compelled to borrow against future shows that may never materialise, further entrenches them in a cycle of financial precarity.
The Zimbabwe Music Rights Association (ZIMURA), the primary collective management organisation responsible for collecting and distributing music royalties, has become a focal point of this crisis. In recent months, ZIMURA has been embroiled in significant internal disputes, marked by leadership tensions, power struggles, and communication breakdowns. These issues have led to widespread concern among musicians, who question the transparency and governance of an institution meant to safeguard their interests.
One of the most significant controversies surrounding ZIMURA involves its executive director, Polisile Ncube-Chimhini. In June 2025, Ncube-Chimhini was convicted of fraud by the Harare Magistrates’ Court for submitting fraudulent company registration documents to the High Court in July 2023. Despite this conviction, she initially remained in her position, sparking outrage and calls for reform from various artist bodies, including the Zimbabwe Musicians Union (ZIMU). The “Rebel Trio” – a group of ZIMURA board members including Dereck Mpofu – publicly accused management of prioritising personal interests over those of the artists.
Musicians have consistently voiced concerns over the transparency of royalty calculations. Many report that payouts are disproportionately low and inadequately explained. Questions persist regarding the formulas used, the data considered (such as radio play, live performances, or digital usage), and why this crucial information is not readily accessible to members. In an era of digital tracking, the absence of transparent online systems for artists to view their earnings and distribution history has fuelled speculation and distrust.
A Warning to the Future
Gift Amuli’s fall from grace serves as a potent warning to every young artist in Zimbabwe. His story is a microcosm of the broader struggles faced by the nation’s creative elite, caught between the allure of fame and the harsh realities of economic survival. The ongoing turmoil within ZIMURA, coupled with the systemic issues of low royalties and predatory practices, underscores the urgent need for comprehensive reforms within the industry.
Without meaningful transparency, improved communication, and artist-centred reforms, the cycle of confusion, conflict, and financial desperation is likely to persist. The question remains: is Gift Amuli merely a fraudster, or is he, like many others, a victim of a broken industry that celebrates its stars while they struggle to survive? The answer will undoubtedly shape the future of Zimbabwean music for generations to come.
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