By Fidelis Manyange
A NEW wave of young musicians is breathing fresh life into Zimbabwe’s traditional mbira music, making it appealing to younger audiences accustomed to dancehall and hip-hop.
Artistes such as Vee Mhofu, Andy Muridzo, Jah Prayzah, Nancy Mutize, Sasha Madhuve, Hope Masike and Diana Samkange have successfully reintroduced the mbira, once considered an old-fashioned relic reserved for traditional bira ceremonies, into modern entertainment spaces. Once confined to rural gatherings, the genre now commands a significant following in urban entertainment hubs.
Decades ago, mbira music was the domain of legends like Ephat Mujuru, Kenneth Chigodora, Master Chivero, Nyadzonia Mbira Sounds, Nyamuzihwa Mbira Group, Chamunorwa Masomera, Pasivanhu Mbira Group, Beulah Dyoko, Mbuya Stella Chiweshe and The Earthquake Band, Thomas Wadharwa (Sekuru Gora) and Sekuru Gweshe. Their music received minimal airplay and was mostly enjoyed by the elderly. Ironically, today’s younger generation is rediscovering their artistry, appreciating classics like ‘Nhemamusasa’, ‘Nyamaropa’, ‘Taireva’, ‘Mahororo’, ‘Gombemukomberanwa’, ‘Karimudande’ and ‘VarimuDande Vanovhaira’.
And today Mutoko-born banker-turned-musician Victor Katsande, known as Tatu Maluba, is determined to elevate mbira music to national prominence akin to how rhumba dominates the Democratic Republic of Congo (DRC), reggae thrives in Jamaica, and calypso defines the Caribbean. His goal? To rank among Zimbabwe’s top five musicians within five years.
Katsande’s musical journey began at an early age in Katonha Village, in Chief Mutoko’s area, after being wowed by the late Master Chivero’s hit song ‘Black September’ in the 1980s.
“One day, my parents decided to visit my grandparents in Danje, a neighbouring village. “Sezvo taichemera kuendawo, vakatinyengetedza nekutisiira wairesi yavo kuti tisare tichiteerera. That’s when I first got taste of Master Chivero’s ‘Black September’, and I instantly fell in love with it,” recalls Katsande.
“I said to myself, I must learn to play this instrument one day, but I had no idea where to get one or who was going to teach me.
“My parents, who were strict Jehovah’s Witnesses, did not approve of me playing the traditional instrument, which was commonly associated with ‘heathen’ gatherings.
“I used to sneak to my grandfather, VaNhau’s home, vaisvikirwa nemudzimu weshumba, to listen and observe how mbira was played,” said Katsande, who fronts his group, Rhinos, derived from his totem, Chipembere.
Folktales also played a significant role in shaping his passion. His maternal grandmother often told ngano (folktales), and one rhyme, ‘Chii Chati Dee Chiiko’, resonated deeply with him. Years later, as his grandmother lay on her deathbed, he asked her to sing it one last time —a moment that remains etched in his heart.
Katsande’s hunger for mbira knowledge saw him religiously tuning in to Dzaana Gwenyambira, a dedicated mbira programme on ZBC Radio 2 (now Radio Zimbabwe). His brother, Tonderai, played a crucial role in his journey, introducing him to renowned mbira player Chaka Mhembere, who later joined Thomas Mapfumo’s Blacks Unlimited. Katsande persistently asked Mhembere to play mbira for him, eager to learn every note.
His breakthrough came in 2023 when he made a bold sacrifice, selling his prized mobile phone to buy his first mbira. A mentor explained the instrument’s arrangement: the smaller lead keys represented children (vana), the left-top keys symbolised singing women (madzimai), while the lower bass keys embodied fathers (anababa vedzvovero). This simple analogy accelerated his learning process.
On June 6, 2023, he composed his first song, ‘Zororo’, a deeply emotional piece reflecting his life’s struggles. “The lyrics ‘ndosuwa zororo, hupenyu handichada (‘I long for peace; life is unbearable’) came from my darkest moments,” he recalls. Encouraged by his brother-in-law, he ventured into the studio despite his wife’s initial reservations.
Veteran guitarist Clive ‘Mono’ Mukundu became a pivotal figure in his growth, mentoring him and expanding his musical network. “After meeting Mukundu, my confidence soared. I started composing several songs daily and now have over 60 unreleased tracks,” he says.
Through Kurai Makore, Thomas Mapfumo’s nephew, Katsande gained first-hand experience by attending live performances. When Mapfumo toured Zambia before returning to the US, Katsande jokingly asked Kurai to leave him his band. “He laughed and warned me, ‘Music isn’t easy — you could get beaten if you fail to impress the crowd. It takes time; rushing into it can cost you your family’.”
Now, Katsande is working on his debut album, ‘Hope Dzandarota Kunaka’, set for release in March. Knowledge ‘Nodza Nodza’ Nkoma’s Kom Studio in Mbare has opened its doors to Katsande. A former lead guitarist for Simon and Sulumani Chimbetu, Nkoma is helping shape Katsande’s sound.
With a fast-growing fan base on social media and enthusiastic responses on WhatsApp groups and YouTube, Tatu Maluba is on a promising path. If his journey continues uninterrupted, this Mutoko-born artiste is well on his way to becoming a formidable force in Zimbabwe’s mbira music landscape.
