More bands needed to keep Chigiyo music alive — Chinembiri

Chinembiri hinted at a possible return to public performances, with shows being lined up towards the end of September.

Veteran musician Philip Chinembiri, popularly known as Mr Chigande, has called for more bands to take up Chigiyo music to preserve and grow the genre which once dominated local airwaves.

Speaking in an interview, the Mighty Hands Band frontman said his return to the stage after more than a decade was driven by concern over the fading Chigiyo sound, which was popularised in the late 1980s by the legendary Zig Zag Band.

“Chigiyo is our own homegrown reggae-inspired genre that tells authentic African stories in our own voice. But if nothing is done, it risks dying out because very few bands are keeping the tradition alive,” Chinembiri said.

The dreadlocked singer, who made a comeback with Chakafukidza Dzimba Matenga in 2022  after years of silence, said his sabbatical was a personal choice, but the neglect of Chigiyo inspired him to return.

“Chigiyo is in my heart. At one point I played only in private, but I felt obliged to step back on stage to preserve the artform,” he said.

Chinembiri has released six albums with Mighty Hands, including Ndabaiwa (2000), Chihwande Hwande (2004), Charika Mutanda (2006), Pachipamwe (2021), Chakafukidza Dzimba Matenga (2022), and Vana VeChigiyo (2023).

His recent tracks, including Kusaziva Kufa (2023), have topped radio charts on 98.4 FM, Central Radio, and Munzwayahwe FM.

“As a custodian of Chigiyo music, I believe it is time to explore creative fusions that still carry our traditional tone but also give the genre a contemporary edge,” he said.

Chinembiri hinted at a possible return to public performances, with shows being lined up towards the end of September.

“It is time we shook our weary bodies and broke the long silence. If all goes well, we will return to the stage before the end of September,” he said.

Chigiyo, rooted in social commentary and storytelling, remains one of Zimbabwe’s most distinct musical genres, but Chinembiri warns that without new blood and consistent production, it may not survive the next generation.

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