By Dr Blessing Ivan Vava
I had chosen to stay out of the Intotal Band debate. But after Ecobank Legends Night Africa 2.0 at Alex Sports Club in Harare on Saturday, September 26, it's becoming difficult to stay quiet. These young musicians deserve credit for what they have built.
They have attracted Ecobank’s backing and taken Legends Night beyond Zimbabwe’s music to include artists such as Salif Keita and Yondo Sister. In an interview with Tafadzwa Zimoyo for the Sunday Mail, Keita said he had been following Intotal’s work and added: “I love the boys.”
Having talent and running a professional outfit are different things. Plenty of musicians can play familiar songs. Putting together a show of this ambition, finding sponsors and giving audiences a reason to return requires organisation. That is part of Intotal’s achievement.
The programme also included Tanga WekwaSando, Alick Macheso and Leonard Zhakata. This creates room for established musicians and younger performers to work together.
I support the concept. I also understand why musicians and their families want to know what they earn when those songs fill venues. The success of Legends Night makes that question more pressing.
Some of this music can find its way back into people’s lives through these shows. An am2k hears a song, asks who sang it first and looks for the recording. Someone older returns to an album they have not played for years. We still need figures to establish whether that interest has increased streams of the original recordings. The opportunity is there.
UB40 built much of its international appeal through interpretations of existing songs, alongside its original material. “Red Red Wine” was written and recorded by Neil Diamond before becoming one of UB40’s signature recordings. The band’s Labour of Love album showed how covers could reach fresh audiences and establish a band’s own identity.
The late country singer and songwriter Dolly Parton understood the financial value of a successful cover. Responding to people who associated “I Will Always Love You” with Whitney Houston, she joked: “That’s fine, she can have the credit, I just want my cash.” Houston’s recording reportedly earned Parton about US$10 million in songwriting royalties during the 1990s.
I would like Zimbabwean songwriters to have that confidence when someone performs their work. They need to know that permission has been obtained and that the money due to them will arrive.
Performing someone else’s song is lawful when the necessary permissions are in place, and their conditions are met. Recording a cover can also be lawful, although recording, distributing and uploading it involve additional rights. Permission for a concert does not automatically extend to every subsequent use of its recording.
The US$150 receipt mentioned in this debate was being cited as evidence that Intotal had a ZIMURA licence. Producer Clive “Mono” Mukundu had defended the band as licensed. In its September 9 statement, ZIMURA said the receipt related to a licence for one event on one day, not continuing permission for later shows. It also said it had received no royalties from the Ecobank Legends Night tours. ZIMURA’s account needs to be checked against the actual licences and payment records.
Online earnings are not automatic either. YouTube allows revenue sharing on eligible covers claimed by music publishers, but uploading a performance does not guarantee that all its proceeds reach the composer. The rights and payment arrangements still matter.
Before we can follow the money, though, we have to establish who owns what.
The musician whose voice we recognise may not own the original recording. A label may control the master recording, while the songwriter or publisher controls the composition. Ownership of the recording does not, by itself, give a company control over a band’s entirely live interpretation of the song.
That means looking again at the contracts behind Zimbabwe’s older recordings, and at how companies such as Gramma Records, Zimbabwe Music Corporation (ZMC) and Records and Tape Promotions (RTP) operated. Gramma recorded Leonard Dembo, System Tazvida and Biggie Tembo, the three musicians whose families have now spoken out, while ZMC recorded Oliver Mtukudzi, Leonard Zhakata and Lovemore Majaivana.
I have heard of musicians being recorded without paying for studio time. For a musician without money, an offer of studio time and distribution could be difficult to turn down. But being recorded without paying upfront was not necessarily a free service. Depending on the agreement, a company could recover its costs from royalties or obtain ownership of the recording. Payment disputes did not end there. In 2017, Alick Macheso sued Gramma Records for US$15,863 in royalties he alleged were unpaid between March 2009 and September 2014. We need the agreements to know what each musician retained.
Questions about recording costs and ownership also reach into the urban grooves years. In the early 2000s, producers such as Delani Makhalima and Take 5 (Tatenda Jenami), and labels such as Galaxy Records, gave young artists access to recording opportunities. In The Chamhembe Story, SoProfound’s documentary series on the era, Take 5 defends the financial arrangements, pointing to the studio, electricity and distribution costs. Artists brought their music and recorded without paying upfront. Makhalima has described how one act’s earnings paid for the next: “Roy and Royce’s money was used to finance Plaxedes, Plaxedes’ money was used to finance Shame and Nathan…” That model helped launch careers. But the agreements still matter: what costs could be recovered, how was income shared, and who owned the recordings?
In 2016, Leonard Zhakata questioned the proposed sale of Gramma Records, Zimbabwe Music Corporation and Ngaavongwe Records without consultation with musicians. He also complained about unpaid royalties.
Who controls those catalogues now, and for how long? Renewed interest in an old recording may bring in money without substantially improving a family’s circumstances. That interest alone will not change the terms under which those families are paid.
Solomon Linda’s story shows how far apart a song’s success and a family’s fortunes can be. His “Mbube” became the basis of “The Lion Sleeps Tonight”, which found international fame while his family struggled financially. A 2006 settlement secured payments for past uses, future royalties and recognition of Linda’s contribution, with a trust to administer his heirs’ interests. That outcome required legal action and negotiation.
Closer to home, Leonard Dembo’s son, Tendai, and the widows of Biggie Tembo and System Tazvida have also raised objections. Tazvida’s widow, Babra Mabuyaye, described struggling financially while others benefited from performances of her husband’s music.
Telling such families that the music keeps a legacy alive is hardly enough. They can appreciate its popularity and still ask why they are not benefiting.
ZIMURA must be transparent in its dealings and accountable to the musicians it represents. It should disclose what it collects, what it deducts, how royalties are allocated and when payments are made. Where money remains unpaid, musicians and their beneficiaries deserve clear explanations and a way to challenge errors. Collecting royalties carries a responsibility to account for every dollar.
That accountability must extend to how ZIMURA’s secretariat treats musicians. Questions about royalties deserve clear, respectful answers, not defensiveness or condescension. The secretariat should not behave like overzealous high school prefects: musicians are asking about their earnings, not seeking permission to leave the classroom. It serves the people whose rights it administers and must answer to them.
Labels and publishers must account for the income they handle too. Missing payments can also arise from incomplete records, unresolved estate documents or failures to license performances. Families still deserve to be told what has gone wrong and how it will be put right.
Britain’s PRS for Music matches concert setlists to registered works to allocate royalties. Australia and New Zealand’s APRA AMCOS requires performance reports that include covers, with promoters submitting setlists for promoter-organised events.
South Africa’s SAMRO publishes distribution schedules and provides an unclaimed-royalties search facility. Musicians should be able to find out when payment is expected and how to pursue money that has not reached them.
Intotal should now sit down with musicians and their families, explain its licensing arrangements and submit complete setlists. Recordings and uploads need separate clearance where required. Agreements with estates and collaborations with living legends could help more people benefit. The band should credit songwriters and direct listeners to authorised recordings. Covers are a legitimate business. The audience Intotal has built gives it a platform to introduce its own compositions and develop a catalogue from which it can earn in its own right.
This deserves a national conversation. The government and the National Arts Council of Zimbabwe (NACZ) should bring the parties together to clarify licensing responsibilities and identify where policy or legislation needs to change. NACZ and musicians’ associations could arrange practical copyright education in local languages and help artists and estates obtain legal advice.
Musicians need support to understand their contracts and keep ownership and beneficiary records current. Promoters, venues and bands should agree who obtains each licence before a show. Sponsors can require evidence of licensing and performance reporting as a condition of support.
I would rather see this debate lead to an open conversation than a lasting feud among musicians. The grievances need answers. Intotal has demonstrated what can be done with music that people still love.
Let the young musicians play, with the proper permissions. Let a new generation discover the songs. And make sure that celebrating our legends includes paying the people entitled to benefit from their work. Ends
Dr Blessing Ivan Vava is a Zimbabwean researcher, political analyst and civic leader with more than 15 years' experience in civil society and regional advocacy. He is Executive Director of the Southern Africa Coalition for Democracy and Accountability (SACDA) and previously wrote the Drumbeat column in The Standard. He holds a Doctor of Literature and Philosophy in Communication Studies from the University of Johannesburg, and his work examines democracy, governance, digital politics and Southern African affairs. He publishes The Thursday Briefing.
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