Oliver Mtukudzi - Icon of Zimbabwean musical and cultural rejuvenation

Oliver Mtukudzi was a revered figure in Zimbabwean music. He was a guitarist, singer, and songwriter; a magnanimous artist in the music world, not just Zimbabwe. Across Africa and beyond, he is known affectionately as "Tuku." His signature husky voice and a unique blend of traditional African sounds with contemporary influences became so influential and recognizable that his music was dubbed "Tuku Music." In forty years of his career, as an artist and an activist, he sang of bringing in social change and embracing cultural identity. This article explores Mtukudzi's remarkable journey, his musical innovations, and the impact he had on both Zimbabwean culture and the global music landscape.

Mtukudzi had a humble beginning. He was born on September 22, 1952, in Highfield, in a poor neighborhood of present-day Harare— the capital of Zimbabwe. From his early years, he was exposed to traditional Zimbabwean music, especially traditional mbira thumb-piano music and the percussive music of the Korekore people, and this laid the groundwork for his future endeavors. 

In 1977, he joined the Wagon Wheels, a band where he indulged in making music with two of the most prominent musicians of Zimbabwe at that time—Thomas Mapfumo and guitarist James Chimombe. Mapfumo's moniker was "The Lion of Zimbabwe," for his peerless popularity and the political influence that he achieved through his music. On the other hand, Chimombe shared the same hometown as Mtukudzi. His sincere and passionate presentation of the very essence of Shona culture earned him the epithet "the Phil Collins of Zimbabwe." 

This band brought him immense success. Although his first song was recorded in 1975, the release of the single "Dzandimomotera" with this band turned into a huge hit and went gold. It spent 11 weeks as the country’s No 1. They were allowed, by an African nationalist and music promoter, to perform at the only nightclub available for blacks at the time, Club Mutanga. In addition to his work with Wagon Wheel, Mtukudzi's contribution to the supergroup Mahube — a collection of top southern African musicians and vocalists— who explored and experimented with the reinterpretation of the organic southern African styles was.

Behind the curtain of these successful endeavors with these luminaries, Mtukudzi was nurturing a desire to curve his own destiny. To achieve his goal, he left the Wagon Wheel and formed the Black Spirit as a frontman. His work with this band solidified his unique style that blends traditional Zimbabwean sounds with various genres such as jazz, pop, and Afrobeat. Soon, he found a niche of his own and it became obvious what set him apart from his contemporaries. In 1978, they released Ndipeiwo Zano, their best-selling record. In this album, the South African style of mbaqanga was incorporated for the first time.

Throughout his whole life, Mtukudzi always had his musical and philosophical roots in the traditions he grew up with. He sincerely believed that the traditional instruments, in no way, inferior to Western instruments like synth and organ. In his album, he started to feature traditional instruments like mbira and marimba along with his acoustic guitar on pop songs. He wanted to prove to everyone, especially to the younger generations, that on traditional instruments, pop songs can sound just as great.

Mtukudzi had an eccentric approach to playing guitar. He searched for sounds that cannot be played on a guitar.  He wanted to make the guitar sound like something else, like mbira for example. He was laughed at by professional guitarists. But, Mtukudzi underscored the outcome of his quirky experimentation with guitar by pointing out the fact that he pioneered a sound that was later labeled "Tuku music."

Mtukudzi’s signature sound,  the "Tuku music," features rich melodies, intricate guitar work, and heartfelt lyrics. His music drew inspiration from the mbira, mbaqanga, traditional drumming styles of the Korekore, and modern instruments. It created a fusion that would resonate with audiences of any background. Mtukudzi’s organic and immaculate blend of traditional ways, pan-African influences, and pop forms was termed as Tuku Music. With this new distinctive "genre" Tuku became a household name across Southern Africa, as well as across Europe and North America.

Mtukudzi always drew inspiration and themes for his music from the mundane life of the people and his own. He used to write love songs in his school days. But, with each encounter with the harsh reality of this world, he could not help writing about his experiences. Subsequently, his music superimposed people's raw and untamed desire for justice and freedom. He was unafraid to address political issues, human rights, and social justice. His words never fail to reflect the realities of life in Zimbabwe.

 On "Todii," he warns the communities of the insidious HIV/AIDS and at the same time urges them to sympathize with those who provide care. He had always been vehemently vocal about the injustice against women and children. For instance, in his track “Ndagarwa nhaka” listeners experience the Shona practice of marrying a widow off to the late husband’s elder or younger brother. Or in his soundtrack for Zimbabwe's highest-grossing film "Neria," he portrayed the struggles of a woman in a suburb of the capital. The song “Wasakara” is an anti-establishment themed song which is speculated to be a reference to former President Robert Mugabe.

After Zimbabwean independence, Mtukudzi toured across the county and advocated for tolerance and peace. Unfortunately, he never witnessed the solidarity he professed all his life. In his last album before his death, he expressed his fear for the future of his country. 

Mtuzudzi was a goodwill ambassador for the UN children’s fund and was made cavaliere of the Order of Merit by the Italian government.

“When I see something, I have something real to talk about. If there is something to talk about, there’s something to sing about, and there’s always something new to talk about,"  this sums up who Oliver Mtukudzi is as an artist and as a human. It reveals the true self of an artist who exercises his artistic freedom and spirit with utmost humility and empathy. His influence will undoubtedly endure. New musicians will draw from his work and the audiences will celebrate the timeless relevance of Mtukudzi's glorious oeuvre.