Dino Mudondo, Fungisai and Veterans Clash Over Cover Bands

Zimbabwe Music Civil War: Dino Mudondo, Fungisai, Alick Macheso, Mono Mukundu and Alexio Gwenzi Clash Over Cover Bands

Byline: Mhepo Entertainment Desk  
  Focus: Copyright, Artistic Ownership & Livelihoods  
  Published: September 4, 2026

THE BIG STORY: Zimbabwe's music industry is facing a bitter divide over the rise of cover bands, copyright and the commercial use of established artistes' music, identities and stage mannerisms.

What began as a dispute involving legendary musician Thomas "Mukanya" Mapfumo and his nephew has grown into a much wider conversation about who owns Zimbabwean music, how original artistes should be protected and whether younger performers are being unfairly targeted.

THE GREAT DIVIDE: Zimbabwe's established artistes are pushing back against the growing cover-band culture, while producers such as Mono Mukundu defend opportunities for younger performers.

At the centre of the dispute are established names including Alick Macheso, Fungisai Zvakavapano-Mashavave, Selmor Mtukudzi and Dino Mudondo, while producer Mono Mukundu has publicly defended the younger generation and questioned whether established musicians are becoming too protective of their territory.

With ZIMURA, copyright tariffs, alleged exploitation of musicians' estates and the role of cover bands now under scrutiny, the argument has moved beyond social media and into a serious debate about the future of Zimbabwe's music industry.

Dino's Nightmare Copycats Defenses ZIMURA Analysis

Dog Eat Dog: Dino Mudondo's Wedding Nightmare

The copyright debate became personal for Dino Mudondo after a wedding performance allegedly saw another band perform several of his biggest songs before his set.

Mudondo became the latest high-profile musician to enter the debate following an encounter with The Travellers Band at a night wedding in Harare, where both acts, alongside Jah Prayzah, were booked to entertain guests.

"They Played All My Songs" Dino arrived at the venue only to be informed by the Master of Ceremonies that The Travellers Band, which had been hired to warm up the crowd, had already performed some of his biggest wedding hits, including Chirangano, Makoikoi and Jatropha.

Arrogance and Disrespect Dino said he was shocked that the band allegedly did not acknowledge him or greet him despite knowing that he was also part of the line-up.

Mudondo also highlighted the economic reality facing original creators. Recording, marketing and producing visuals can cost significant amounts, while cover bands may charge lower performance fees while relying heavily on established artistes' music.

The Livelihood Question Mudondo's argument is simple: if original artistes invest heavily in creating and promoting their music, should other performers be able to commercially exploit that catalogue without fair compensation?

THE GREAT DIVIDE: Zimbabwe's established artistes are pushing back against the growing cover-band culture, while producers such as Mono Mukundu defend opportunities for younger performers.

The Veterans Strike Back: More Than Just Covers

Dino's concerns echo wider complaints from established artistes who say the issue goes beyond simply performing another musician's songs.

Fungisai Zvakavapano-Mashavave recently joined the debate after raising concerns about performers allegedly reproducing her music, personality, movements and artistic identity for commercial purposes.

Identity, Tribute or Exploitation? Fungisai questioned whether people should be allowed to impersonate an established artiste and reproduce their music and mannerisms for commercial gain without permission.

Her central concern is financial. If a promoter can hire a cheaper group that performs an established artiste's catalogue and closely imitates their stage identity, the original creator may effectively be competing against a commercial substitute built around their own work.

That argument has also raised a broader question: when does a tribute stop being a tribute and become a replacement for the original artiste?

Mono Mukundu's Scathing Rebuttal

Producer Mono Mukundu has taken the opposite position, defending younger musicians and warning against shutting down the next generation.

Mukundu has publicly criticised what he sees as hostility towards emerging musicians, accusing some established artistes of being driven by insecurity and jealousy.

Stifling the Next Generation? Mukundu has questioned why Zimbabwe cannot allow younger musicians to rise, arguing that older artistes should mentor emerging performers rather than view them as competition.

The Exploitation of Music Estates Mukundu has also raised concerns about the treatment of widows and families of late musicians, arguing that beneficiaries should receive the royalties and protection they are entitled to.

Mukundu has further claimed that the controversy intensified after the younger In Total Band secured corporate backing, with allegations that efforts were made to undermine the group's commercial opportunities.

The Legal Mess: ZIMURA & Chapter 26:05

As the artists fight publicly, attention has shifted to ZIMURA, copyright tariffs and the legal framework governing music performances in Zimbabwe.

ZIMURA board chairperson Alexio Gwenzi has acknowledged challenges within the current system and pointed to the freezing of copyright fees as one of the problems affecting the sector.

The Cover Band Tariff Dispute ZIMURA has previously proposed a fee for cover bands, but disagreements remain over affordability, enforcement and whether such charges are being applied consistently across the industry.

Copyright Act & "Passing Off" Zimbabwe's Copyright and Neighbouring Rights Act [Chapter 26:05] provides protection for qualifying creative works. However, copyright protection does not automatically mean an artiste owns every element of their general performance style or public persona.

The legal question becomes more complicated where a cover band allegedly presents itself in a way that could mislead audiences into believing there is an official connection with the original artiste.

This is where the common-law concept of passing off may become relevant, because it focuses on reputation, misrepresentation and resulting damage rather than simply the act of performing a similar song.

MHEPO NEWS ANALYSIS

Where Does Zimbabwe Draw the Line?

Zimbabwe's music industry cannot realistically outlaw artistic influence. Musicians learn from one another, performers reinterpret older songs and tribute acts can introduce younger audiences to legendary catalogues.

But there is a legitimate difference between paying tribute to an established artiste and commercially replacing that artiste by reproducing their catalogue, identity or performance style without proper authorisation or compensation.

At the same time, Mono Mukundu's argument about mentorship should not be dismissed. A healthy music industry needs experienced musicians to create pathways for younger performers. The rise of a new generation should not automatically be treated as a threat to those who came before them.

The bigger problem may therefore be institutional rather than personal. ZIMURA needs a transparent and workable system that protects composers, performers and beneficiaries while making legitimate music licensing affordable and enforceable.

Until that happens, Zimbabwe's music industry risks remaining trapped between two competing principles: protecting the people who created the music and giving the next generation room to perform it.

The real question is no longer simply whether cover bands should perform. It is whether Zimbabwe can create a fair system where tribute, mentorship and commercial opportunity can coexist without destroying the livelihoods or rights of original creators.

© Mhepo News | Entertainment & Copyright Desk

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