Since the October 29 “Curfew” incident, several high-profile artistes, including Diamond Platnumz, have reportedly lost followers due to online movements criticising them for remaining silent during political or social disputes.
The Tanzanian music industry is facing an unprecedented moment of tension as fan boycotts of local artistes continue to grow.
At the centre of the debate is Francis Antony Ciza, popularly known as Majjizo, CEO of EFM and TV E, who has publicly urged fans to reconsider their actions, warning that prolonged disengagement could threaten the industry’s stability.
Since the October 29 “Curfew” incident, several high-profile artistes, including Diamond Platnumz, have reportedly lost followers due to online movements criticising them for remaining silent during political or social disputes. Majjizo expresses deep concern, emphasising the potential long-term consequences for the sector.
“What worries me is that this platform may fail, and in the future, politicians might thrive because we agreed not to support Tanzanian music. This is a very serious statement,” Majjizo says during a discussion with music stakeholders and fans. He highlights the broader economic stakes, noting that the music industry employs a significant number of young people.
“When we say we don’t support Tanzanian music, we are indirectly saying we don’t support Tanzanian youth,” he explains.
Majjizo calls for dialogue to bridge the gap between artists and fans, citing independent musicians who have already felt the effects of the boycott.
“The effects are already showing. Artists have slowed down production because of threats, and fans may not even realise the damage caused. Not supporting a video can cost hundreds of jobs,” he says.
Fans Speak Out: Calls for Accountability and Responsibility
Despite Majjizo’s appeal, some fans express pointed criticism, arguing that the industry’s failures must also be acknowledged.
“Kaka Majizzo, Very well said, but one-sided. From my perspective, you are speaking on a side most citizens don’t want to hear. The benefits and losses you mention mostly affect your industry directly, while the impact on ordinary people is much smaller, because most of our artists don’t know how to give back to the community,” one fan comments.
Fans highlight several concerns, emphasising accountability, fairness, and social responsibility:
“Artists must admit when they have seriously erred and always stand on the side of justice. No one is opposing their political choices, but we question why some use their influence to mislead or harm society instead of educating and uplifting it. Accepting payment to suppress issues that are clearly unjust is unacceptable.”
“Artists should remember that their positions exist because fans supported them. Using fame or power to undermine fairness earns no respect, even if it seems unnoticed. They should reflect on why even fans from neighbouring countries are turning away and consider the ethical implications of profiting from unfair practices. Before speaking to the public, artists must remember their societal role, learn from global examples, and understand the responsibility that comes with their influence.”
The Boycott’s Impact on the Industry
The consequences of the boycott have already become tangible. For nearly two weeks, no major concerts or music shows have been announced, creating an unusual silence in an otherwise vibrant calendar. New releases have struggled, with view counts and streaming numbers falling below typical levels.
Industry insiders report that some musicians have postponed or cancelled releases, citing “unpredictable fan behaviour” and market uncertainty. Even studio sessions scheduled for November and early December were halted. This slowdown is affecting the entire creative ecosystem—from video directors and dancers to sound engineers, stylists, and digital marketers—highlighting the interconnected nature of Tanzania’s music industry.
As the debate continues, Majjizo’s appeal serves as a reminder of the fragile balance between artists and fans. While some argue for accountability and social responsibility, others stress the importance of support for a sector that sustains thousands of livelihoods. The question remains: can Tanzanian music navigate this crisis and rebuild trust with its audience?
