Dar es Salaam – A widespread fan boycott of musicians in Tanzania, sparked by their perceived complicity in the violent state crackdown on protests on October 29, 2025, has brought the country’s vibrant music scene to a virtual standstill.
However, in a recent interview with The Chanzo’s Khalifa Said, respected hip-hop artist and activist Webiro Wassira, popularly known as Wakazi, argued that the boycott has merely exacerbated a pre-existing crisis within the industry, which he says was already hitting a “wall creatively and commercially.”
The boycott, a silent but powerful movement playing out in the comment sections of social media and in the empty seats at would-be concerts, has led to the cancellation of end-of-year shows and the postponement of album releases from major artists like Harmonize.
The situation has become so dire that the year’s most popular song is not a local hit but a South African gospel track, Makomborero, adopted by activists as a symbol of the movement for change.
Wakazi, in his analysis, suggests that the industry’s decline was inevitable. He points to a dwindling number of commercial opportunities, such as music festivals, which had pushed artists to align themselves with the government and the ruling Chama cha Mapinduzi (CCM) party to secure an income. This alignment, he says, is what ultimately alienated their fanbase.
“The situation was bad before [the boycott],” Wakazi explained. “Tanzanian music had hit a wall creatively and commercially… their alignment [with the government] has now angered the people, who are the fans, who have now said they will boycott them, meaning that the situation that was already bad has become even worse.”
Beyond the political fallout, Wakazi identifies several other factors contributing to the industry’s malaise. He criticises a culture of internal competition where artists focus on outshining each other in wealth and status rather than investing in their craft and expanding their commercial reach.
He also laments a lack of originality, with many artists opting to imitate foreign music styles, leading to a perception of them as “copycats” on the international stage.
Furthermore, Wakazi points a finger at regulatory bodies like the National Arts Council (BASATA), which he describes as acting like “police” and stifling creativity. He argues that the arbitrary banning of songs for allegedly lacking morals or for touching on sensitive political issues, coupled with a lack of a proper rating system for adult content, creates an uneven playing field where local artists cannot compete with their international counterparts.
The artists themselves, according to Wakazi, are a community that “does not recognise itself.” He asserts that despite having the ear of the country’s rulers, they fail to advocate for their own needs and instead focus on “trivial and silly little things.” This, he suggests, is why there has been no meaningful conversation within the artistic community in response to the boycott.
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Wakazi is clear that the fans’ frustration is not simply about artists choosing a political side. He argues that an artist’s primary duty is to be a “mirror of society,” reflecting the experiences of the community they represent. When artists fail to speak out against the hardships and injustices faced by their society, he says, the public has every right to hold them accountable.
“When people are going through problems, and you don’t side with them, you can’t say that you were just exercising your right to defend any political party of your choosing,” Wakazi stated.
“My frustration as a citizen, as a fan, is not you as an artist using your civil rights,” Wakazi added. “My frustrations stem from the fact that what we went through should not have happened, and when it did, it should not have been ignored by anyone from any party, not least those with platforms like artists.”
The boycott has been particularly damaging for artists who were prominent on the ruling party’s campaign trail. Comments made by major stars have further fuelled public anger.
In September 2025, Diamond Platnumz, one of the country’s biggest artists, advised people to “focus on making money rather than complaining.” His sister, Queen Darleen, went even further, stating on October 27 that protestors should be “beaten or killed.”
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While some industry figures, like promoter Francis “Majizzo” Ciza, have pleaded for the public to reconsider, arguing that artists’ participation in political campaigns is purely business, the boycott continues to hold firm.
The future of Tanzania’s music industry now hangs in the balance, caught between a disillusioned public and an artistic community that, according to Wakazi, has lost its way.
