For a long time, Zimdancehall has been one of the most prominent youth-driven genres in Zimbabwe. Fusing street slang Shona with Jamaican dancehall, together with hard-hitting street commentary, the genre grew rapidly in popularity from around 2010 and became the dominant soundtrack of urban life across Harare, Chitungwiza, Mabvuku, and beyond.

Zimdancehall’s rise was driven by artists like Soul Jah Love, Killer T, Sniper Storm, Tocky Vibes, and Freeman HKD. These artists became household names, with tracks that spoke directly about the day-to-day struggles of Zimbabwean youth. Tracks like Pamamonya Ipapo by Soul Jah Love are still considered landmarks that defined the genre’s golden era.

Despite its popularity in the industry, Zimdancehall was never fully embraced by mainstream critics or traditional institutions. The genre was often dismissed as unrefined, too vulgar, or lacking depth—especially due to its lyrical focus on poverty, inequality, drugs, and survival. But that didn’t stop its influence from spreading. For many, Zimdancehall was a mirror of life in high-density suburbs.

However, in recent years, the conversations around this genre have shifted. Some fans claim Zimdancehall is fading, struggling to hold relevance in a music landscape now filled with new homegrown and imported genres such as Afrobeats, Amapiano, and local Trap style. Others argue that the sound is evolving and not really dying.

Much of the criticism appears to be tied to pioneering listeners' preferences. Long-time fans often compare the current scene to the golden era and find it lacking, either in content or charisma.

Still, a new wave of artists has emerged. Madedido is pushing a modern fusion of styles that still draws from Zimdancehall roots. His recent tracks Hwabada Yadonha (2025) and Siya Ndiite (2025) are typical examples. Then there’s Jnr Spragga, whose vocal delivery and presence have earned him comparisons to a Gen Z Soul Jah Love. His recent track Hwa Hwa featuring TatendaLXA has picked up traction, garnering over 18,000 plays on Spotify.

Other notable names in the new school include Fella Yut, Khonangale, Libho, Hulungende, Lady Squanda, and Huvehuro. While none have achieved the widespread dominance of their predecessors, each brings a new approach to the genre, often blending it with elements of trap, Afrofusion, or drill-inspired flows.

What’s interesting is that while many of the older generation artists have not left the genre, they are no longer dominating the airwaves like they used to. This has led some to argue that the genre itself is losing its hold on the Zimbabwean mainstream.

But it may be more accurate to say that Zimdancehall is adapting to a new audience and facing the same pressures that come with the rise of new genres and a changing music listening habit.

The question isn’t whether Zimdancehall is still relevant; it is, especially at street level. The real question is whether the industry is giving this new generation of artists the support to carry the genre and experiment.

But one thing is certain, whether or not it returns to the height of its former dominance, Zimdancehall remains a vital part of Zimbabwe’s urban music culture.

Zimdancehall has been one of the most prominent youth-driven genres in Zimbabwe till date.

Genre Spotlight: ZIMDANCEHALL

Zimdancehall has been one of the most prominent youth-driven genres in Zimbabwe till date.

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