A smooth and successful Oliver Mtukudzi tribute concert in South Africa stands in stark contrast to the drama that marred the inaugural Oliver Mtukudzi International Festival of the Arts (OMIFA) held recently in Zimbabwe.
While the Norton event was overshadowed by family tensions and a highly publicised emotional breakdown by Selmor Mtukudzi, the Johannesburg concert, part of the Standard Bank Joy of Jazz Festival, was a resounding success, celebrating the late music icon’s legacy without incident.
The South African tribute, powered by the South African Music Performance Rights Association (SAMPRA), featured a stellar line-up including Yvonne Chaka Chaka, Mafikizolo, and Zimbabwean musician Mbeu.
Other performers included guitarist Mono Mukundu, Thandisa Mazwai, Samantha Mtukudzi, Maduvha Madima, and Ihhashi Elimhlophe, all contributing to a vibrant and respectful homage to Tuku’s music. Chaka Chaka and Mbeu delivered powerful renditions of Tuku’s classic ‘Neria’, among other songs, showcasing the enduring appeal of his music across borders.
Mono Mukundu, reflecting on the event, stated: “I want to thank the organisers and all the Zimbabweans who came through as the late superstar Oliver Mtukudzi was honoured and celebrated properly at the Standard Bank Joy of Jazz Festival. Guest artists, Yvonne Chaka Chaka and Maduvha Madima, gave outstanding performances alongside Mbeu, Samantha and Fiona. All we did was to honour our legend and also have fun.”
SAMPRA echoed these sentiments, highlighting Tuku’s remarkable four-decade-long career and the respect his legacy deserves.
Tuku’s international success is well documented. His album “Tuku Music”, released in South Africa under Debbie Metcalf, featured hits like ‘Dzoka Uyamwe’, ‘Todiii’, ‘Ndima Ndapedza’, ‘Tsika Dzedu’, ‘Mai Varamba’, ‘Rirongere’, ‘Tapindwa Neyi’ and ‘Mabasa’, demonstrating his ability to connect with audiences beyond Zimbabwe’s borders. His husky voice and captivating music resonated with fans globally, cementing his status as an internationally recognised musician.
The stark contrast between the South African tribute and the Zimbabwean OMIFA highlights the underlying family tensions that continue to cast a shadow over Tuku’s legacy. The Zimbabwean festival, organised by Tuku Music, which manages the late musician’s affairs, was intended to be a celebration of his life and work, bringing together musicians and artists from around the world.
Selmor’s emotional breakdown on stage, after performing only one song, brought these simmering family tensions into the harsh light of public scrutiny. In a subsequent podcast interview with DJ Ollah 7, Selmor and her sister Sandra shared their experiences growing up in the Tuku household, detailing the emotional toll of their relationship with their stepmother, Daisy Mtukudzi, Tuku’s widow.
Selmor expressed her hurt at the last-minute invitation to the festival, questioning the reasons for her initial exclusion and refuting claims of budgetary constraints. She also described the harassment she and her band faced upon arrival at Pakare Paye, the removal of her father’s pictures and her own artefacts from the venue, and the lack of support from the organisers.
Selmor’s emotional outburst prompted a response from Daisy Mtukudzi, who, in an interview with The Herald, emphasised that the festival was intended to celebrate Tuku’s legacy, not individual personalities. Daisy stated: “At least the world has witnessed all the drama. I know people will still attack me, but what have I done to deserve this embarrassment? … the event was all about celebrating Tuku’s legacy and life well-lived. It was not about Daisy or whoever, because we were commemorating an icon here.”
Selmor, in an interview with The Sunday Mail Entertainment, expressed remorse for her emotional breakdown, stating: “I was completely overwhelmed on that day (at the festival). I sincerely apologise for not being as strong as my supporters had hoped. I hurt the people who trusted and supported me unconditionally by not performing. I tried to compose myself but could not.”
She detailed her meticulous preparations for the performance, highlighting the special significance of performing at Pakare Paye, a venue where she had previously been denied permission to perform by Daisy. She also described the unsettling incidents leading up to her performance, including the removal of her pictures and artefacts from the venue.
This incident further fuels the ongoing debate surrounding the management of Tuku’s legacy and the distribution of his assets, which, according to a will that emerged after his death, left most of his assets to Daisy, including cars, music rights, and Pakare Paye Arts Centre. Some family members, however, question the validity of this will.
The contrasting experiences of the South African and Zimbabwean tribute concerts highlight the complexities surrounding the celebration of Tuku’s legacy, underscoring the ongoing family tensions and the need for reconciliation.
While the South African event offered a respectful and successful tribute, the Zimbabwean event serves as a stark reminder of the unresolved issues within the Mtukudzi family. The late musician’s enduring legacy continues to be shaped by both his music and the ongoing family drama and it should be a lesson to many men that siring children with multiple women often leads to endless family squabbles.
