Nicholas Zakaria’s widow and nephew fight over Khiama Boys legacy

The death of Zimbabwean sungura legend Nicholas “Madzibaba” Zakaria has sparked a battle over one of the country’s most celebrated musical brands, with his widow and nephew now leading separate groups under the Khiama Boys name.

The dispute has split the legacy of the late musician into two rival camps. On one side is Lazarus Zakaria, Madzibaba’s nephew and former manager, who says he inherited the original band, its members and its management structures following the veteran musician’s death. On the other is Margaret Gweshe, Zakaria’s widow, who has assembled her own version of the Khiama Boys fronted by vocalist Godknows Lindarani.

The emergence of two bands bearing the Khiama Boys identity has left fans and promoters questioning which outfit truly represents the musical heritage of the man affectionately known as the “Senior Lecturer.”

According to information released by EarGround TV, Lazarus maintains that he retained most of the original Khiama Boys members after Madzibaba’s passing and took over the band’s management, including its social media platforms. Gweshe, however, argues that as Zakaria’s widow she has every right to continue using the Khiama Boys name and has since registered a separate outfit.

Beyond the family dispute lies a broader question that Zimbabwe’s music industry has grappled with for decades: Who owns a musical legacy when an artist dies?

Nicholas Zakaria was not just another sungura musician. He was one of the genre’s founding architects and among its greatest teachers. Born in Mazowe in 1956, he began his musical journey in the 1970s with The Green Mangoes before forming the Vhuka Boys. In 1984, he established the Khiama Boys, a band that would become one of the most influential institutions in Zimbabwean sungura music.

His contribution extended well beyond recording hit songs. Nicknamed the “Senior Lecturer,” Zakaria earned widespread respect for mentoring generations of musicians who later became household names, among them Alick Macheso, System Tazvida and several other accomplished instrumentalists. Over a career spanning nearly five decades, he produced more than two dozen albums and timeless classics including Kubva Kure, Mabvi Nemagokora, Shamiso and Mabhauwa, cementing his place among Zimbabwe’s greatest musicians.

The succession battle surrounding the Khiama Boys is far from unprecedented. Zimbabwe’s music industry has repeatedly witnessed families attempting to preserve or revive the careers of deceased musicians, with varying degrees of success.

When sungura superstar Leonard Dembo died in 1996, members of his family sought to keep his music alive through tribute performances and revival efforts. While these initiatives attracted nostalgic audiences, none managed to recreate the commercial success or cultural influence that Dembo enjoyed during his lifetime. Over time, the Dembo brand gradually faded from the mainstream, highlighting the difficulty of sustaining a musical career built around an exceptional individual.

Peter Moyo, son of the late Tongai “Dhewa” Moyo, suffered the same fate of failing to revive his father’s legacy.

A similar story unfolded following the death of Simon “Chopper” Chimbetu. His son, Suluman Chimbetu, suffered the same fate.

The late System Tazvida, one of Madzibaba’s most celebrated protégés, also left behind a rich catalogue of sungura classics. Since his death, family members and admirers have organised tribute performances and attempted to preserve his musical legacy. While his songs remain popular on radio and continue to attract loyal listeners, no revival has managed to replicate the unique stage presence and popularity that made Tazvida one of Zimbabwe’s finest sungura musicians.

These experiences demonstrate that inheriting a famous name is only one part of preserving a musical legacy. Success often depends on several factors, including retaining experienced band members, maintaining strong management, resolving ownership of intellectual property and trademarks, securing financial support and, perhaps most importantly, earning the continued confidence of fans. In many cases, audiences reward authenticity rather than legal ownership.

Whether the future belongs to Lazarus Zakaria’s Khiama Boys Legacy Band or Margaret Gweshe’s Khiama Boys outfit remains uncertain. Lazarus appears to have retained many of the musicians who performed alongside Madzibaba and has already resumed performances under the Khiama Boys Legacy banner. Gweshe, meanwhile, believes that as Zakaria’s widow she has both the moral and legal responsibility to preserve her late husband’s musical heritage through her own ensemble.

As Zimbabwe’s music history has shown, however, succession disputes are rarely resolved by family ties or legal claims alone. Ultimately, it is the fans who decide which performers truly carry the sound, discipline and spirit that made Nicholas “Madzibaba” Zakaria one of sungura music’s greatest pioneers and most respected mentors. *_-ZimEye_*