Nota Baloyi Sparks Outrage: “Zimbabwean Artists Are Sh*t”, Claims SA Music Doesn’t Need Zimbabwe or Africa!
Outspoken South African music executive Nota Baloyi has once again ignited a fierce online debate, this time taking direct aim at Zimbabwean artists and the broader African music market. In a viral podcast clip, Nota characteristically delivered an unfiltered rant, dismissing Zimbabwean music and claiming that South Africa's music industry is entirely self-sufficient.
The remarks, made on the Music Pulse podcast, arrive in the wake of complaints regarding South African acts dominating bookings in Zimbabwe. Nota's blunt response—and his subsequent financial comparisons with countries like Nigeria—drew immediate pushback from Zimbabwean social media users who pointed out that their country has historically served as a vital lifeline for "cancelled" or struggling South African stars.
"Zimbabwean Artists Are Sh*t"
Nota is no stranger to controversy—or to Zimbabwean culture, given his former marriage to Zimbabwean-born singer Berita. However, his latest appearance on the Music Pulse podcast took his rhetoric to a new level. Responding to the frustration that South African acts dominate the Zimbabwean live music circuit, Nota offered zero diplomacy.
“They cannot afford to lose South Africa. So that's why we don't need to worry about people calling us Afrophobic.”
Making the Case for SA's Self-Sufficiency
To back up his claims that boycotts from other African nations would have negligible financial impact on South Africa's entertainment industry, Nota turned to corporate metrics, specifically targeting Nigeria as a point of comparison.
The Lifeline for SA's "Cancelled" Stars
Nota’s hubris did not go unchallenged. The clip, shared widely by platforms like @eargroundtv on X, triggered a wave of responses from Zimbabwean users who quickly dismantled the idea that South African artists don't need their northern neighbors.
The consensus among critics is that while Nota looks at macroeconomic industry metrics, the actual day-to-day livelihood of touring South African artists relies deeply on the cross-border gig economy.
Editorial Verdict: The Danger of Industry Hubris
Nota Baloyi’s assertion that South Africa’s music industry is a self-sustaining monolith that doesn't need the rest of the continent is fundamentally flawed by its own arrogance. While it is true that Amapiano and South African music at large are enjoying an unprecedented global boom, the foundation of a touring artist's income often remains regional.
As Zimbabwean commentators rightly pointed out, macro-level subscriber counts on Netflix do not pay the bills for a DJ or singer looking for weekend bookings. Zimbabwe has frequently acted as a safety net and a highly lucrative secondary market for South African acts—especially those who fall out of favor at home. Dismissing an entire nation’s artistry as "sh*t" while biting the hand that feeds countless SA performers is not just undiplomatic; it shows a dangerous disconnect from the reality of the live music circuit. Music is borderless, and alienating loyal fans is a strategy that rarely ends well.
Source: Briefly News | Adapted by Sona Headlines (Entertainment Desk)
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