Not only has he enjoyed great success and followership locally but he has managed to break the barriers and performed internationally, arguably something that any artist encompassed in this genre has never done.
However, let us not forget our history, that this is a genre that was first popularised in Jamaica and it is in this country where it enjoys a huge followership.
In terms of artistry, whatever Winky D does in this genre, he is bound to borrow from the originator.
Given that he is placed side by side with a hard-core Jamaican adequately singing in Patois, then the message is bound to be distorted along the way.
The reason why the likes of Thomas Mapfumo and Oliver Mtukudzi have made it this far is that, they are original and have at several times developed their sound to match the fast and urban contemporary beat which is more appealing to the audiences.
Had it been Mapfumo mimicking the British Rock feel or rocky blues, then it is my best bet that he would have flopped.
A closer look at Winky D’s music will expose that most of his songs currently making waves in this country are found on Jamaican riddim driven albums.
This has arguably gained him a mileage among dancehall fans in Zimbabwe who follow this genre, but will it be wise if he distinguishes himself within this genre and create his own feel with which the fans can identify.
This is one of the reasons why in Zimbabwe today, legends like Mtukudzi have come up with their own feel of music, Tuku Music, that is complemented by a soothing jazz touch but whenever it is played, it is not so difficult to identify with.