Dar es Salaam – For decades, Vitali Maembe has been a singular voice in the Tanzanian music scene. A graduate of the Bagamoyo College of Arts, his unique blend of inland and coastal rhythms, infused with poetic and often provocative lyrics, has earned him international acclaim and a dedicated following at home.
But behind the accolades lies a story of struggle, one that reflects the harsh realities faced by many independent artists in the country.
In an interview with The Chanzo published on September 29, 2025, Maembe laid bare the economic and social consequences of his politically conscious music.
“When you advise or publicly criticise the system, there are things you will miss out on,” he explained. “You will lack cooperation in many things from the government, from the leadership in the environment you live in, but also even from your relatives and friends who have been instilled with fear.”
Maembe recounted how he has been systematically denied government work and even private gigs, with event organisers fearing repercussions for hiring a government critic.
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His song Sumu ya Teja, a powerful anthem against drug abuse, is frequently used in official campaigns, yet he receives no compensation or credit, while other, less critical artists are invited to perform.
“They will use your song, but you will not get a livelihood from it,” he stated, describing a deliberate strategy of “economic strangulation” designed to force artists into submission.
Not isolated case
Maembe’s experience is not an isolated one. It is symptomatic of a broader, systemic issue of censorship and control that plagues Tanzania’s creative sector. The primary instrument of this control is the National Arts Council (BASATA), a government body with sweeping powers to approve, ban, or fine any artistic content it deems contrary to “national morals” or “public order.”
A June 2025 report by Mimeta, a Norwegian organisation advancing cultural rights by safeguarding artistic expressions, highlighted how these vaguely defined terms are weaponised to silence dissent.
The report documented numerous cases, from rapper Nay Wa Mitego facing charges for a song criticising corruption, to gospel singer Sifa Bujune being prosecuted under the Cybercrime Act for a song about police brutality.
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This climate of fear has created a chilling effect, fostering self-censorship as artists steer clear of controversial topics to avoid career-ending sanctions. The message is clear: political compliance is the currency of survival.
Beyond the political tightrope, independent artists grapple with severe economic and structural challenges. A November 2024 article in The Citizen exposed a troubling paradox: musicians earning millions from hit songs, only to end up in poverty due to a lack of financial literacy.
The article shared the story of a young artist who earned nearly Sh15 million from a single hit but was broke within a year, unable to even afford to record a new song. This “boom and bust” cycle is fueled by a lack of knowledge about investment and financial management, leaving artists vulnerable and their careers unsustainable.
Compounding these issues are the challenges of the digital age. While platforms like Mdundo offer new avenues for distribution, many artists lack the digital literacy to effectively monetize their work or protect themselves from unfavorable contracts.
Furthermore, rampant piracy continues to devalue their creative output, making it even harder to earn a sustainable income.
It is within this complex web of political pressure and economic precarity that Maembe’s recent actions must be understood. In July 2025, he resigned from all positions in the opposition ACT-Wazalendo party, a party he had once run for parliament with in 2020.
He declared his intention to focus on “continuing the struggle through music, art, and free activism, where the people hear and understand me directly, without political imagery.”
This was not an act of surrender, Maembe insisted during the interview, but a strategic retreat to a different battlefield. By stepping away from formal politics, which he felt was rife with corruption and compromise, Maembe is reaffirming his commitment to his primary role: an artist as the voice of the voiceless.
His subsequent refusal to participate in the upcoming October 29, 2025, general election, which he stated “has no signs of being free and fair,” is also a powerful indictment of a system he believes has failed both its citizens and its artists.
The journey of an independent artist in Tanzania is fraught with peril. It is a constant negotiation between creative expression and economic survival, between speaking truth to power and the risk of being silenced.
Vitali Maembe’s story is a testament to this struggle, a poignant reminder of the high price of a song and the enduring power of a voice that refuses to be bought or broken.
