Lloyd Makonya
Correspondent
ZIMBABWE Music Rights Association (ZIMURA)’s introduction of a US$150 licencing fee per event for cover bands has sparked intense debate within the country’s music industry.
While the organisation argues that the fee ensures fair compensation for composers, many cover bands and industry stakeholders view it as a financial burden that could stifle Zimbabwe’s live music scene.
The controversy has also extended to churches, which may be infringing copyright laws by performing copyrighted music without obtaining the necessary licences.
ZIMURA, the body responsible for protecting the rights of music composers, authors, and publishers in Zimbabwe, defends the new fee structure as essential for ensuring fair remuneration for creators.
In a podcast show hosted online by acclaimed musician and producer, Clive Mono Mukundu, ZIMURA’s head of licencing, Servias Matiza, compared unlicenced cover bands to street vendors selling pirated CDs, arguing: “Cover bands who do not licence for the songs they are playing are like a vendor selling pirated CDs on the streets. Should we feel empathy for these vendors because they are eking out a living from pirated work?”
ZIMURA deputy director, Henry Makombe, further justified the tariff, stating: “Cover bands are users of music which does not belong to them, hence, they have to licence for composers to gain a price for their efforts. We cannot make composers popular, yet poor.”
ZIMURA’s position aligns with Zimbabwe’s Copyright and Neighbouring Rights Act (Chapter 26:05), which grants copyright holders exclusive rights over their works, including the right to compensation for public performances. Beyond cover bands, ZIMURA has raised concerns about churches performing copyrighted music during services without obtaining proper licences.
ZIMURA representative, Clarence Garura pointed out: “If the church does not have its own hymn books, and performs copyrighted music without a ZIMURA copyright licence, you are worshipping God using stolen property.”
This has stirred debate, with some arguing that religious use should be exempt. However, others maintain that churches, like any other institution benefiting from copyrighted works, should pay for licences to fairly compensate composers.Zimbabwe Musicians Union (ZIMU) has strongly opposed the directive, calling the fee “punitive” and inconsistent with global practices.
ZIMU argues that, internationally, licencing fees for public performances are typically the responsibility of venues and event organisers, not individual performers.
This shift in responsibility, they argue, creates uncertainty and threatens the livelihoods of many artistes.
The increase of the tariff has sparked outrage because this latest increase saw the tariff rise from US$50 annually to US$150 per event.
Cover band musicians argue that venue owners should be the ones paying the fee, as they profit from patrons who attend the performances.
Mono Mukundu, an acclaimed Zimbabwean musician and producer, cautioned that economic realities must be considered when coming up with tariffs saying: “The economy should guide the fees or tariffs paid by artistes, and in Zimbabwe, the economy is leaving fewer disposable incomes in people’s pockets. Hence, bands are at the mercy of venue owners who determine the fees of their performances.”
Similarly, Victor Kunonga, a respected artiste, supported ZIMURA’s stance, insisting that those who perform covers must pay.
“Those who want to do covers should pay the price for wanting to use other people’s work.”
Internationally, most countries rely on blanket licencing agreements, where venues and promoters secure comprehensive licences covering all performances within their premises.
This system ensures that composers are compensated, while minimising administrative burdens on individual musicians.
While ZIMURA argues that the fee is essential to protect composers’ rights, industry stakeholders are calling for dialogue to ensure that the regulation does not harm Zimbabwe’s live music industry.
Cover bands are urging ZIMURA to consider economic conditions and adopt a more flexible licencing framework that supports both composers and performers.
Additionally, churches may need to reassess their use of copyrighted songs in worship, potentially seeking licensing agreements to ensure compliance with copyright laws.
As this debate continues, finding common ground remains crucial for the sustainability of Zimbabwe’s vibrant music industry.
