Gospel hip-hop singer Mudiwa Hood has told his social media critics to keep talking because online trolling will not drive him out of music.
The rapper and businessman made the declaration after the launch of his latest album, Dhara remaDhara, a 12-track project presented at a sold-out black-tie event in Harare. The launch attracted businesspeople, musicians, celebrities, fashion figures, producers and other leading personalities from Zimbabwe’s creative sector.
For Hood, the night was more than a celebration of a new release. It was a public statement about why he continues to make music despite years of criticism over his style, relevance and place in Zimbabwe’s hip-hop scene.
“I am not fazed by the naysayers and critics. Let them say what they want to say. I know what God said to me,” he said.
Hood said his decision to remain in music was not driven by money, fame or a desire to defeat his critics. He described music as a spiritual duty and said his inspiration came from his faith.
“Music is not entertainment to me. It is a calling. People will say a lot of things, but I cannot give up.
“The inspiration comes from the Holy Spirit,” he said.
The singer said he could have chosen to leave the music industry and focus entirely on his business interests. Instead, he said his religious convictions had made music non-negotiable.
“If I was given a choice, I would quit because I have faced a lot of backlash and focus on business, but this is a calling,” he said.
“I am a man of God before I am a businessman. Henceforth, I will not quit music.”
That position has become central to Hood’s public identity. He has built a career that stretches well beyond recording and performing. His business interests include real estate, finance, construction, energy, logistics, media, aviation and clothing. He is also an author, motivational speaker and fashion entrepreneur.
Yet the success of those ventures has not weakened his commitment to music. Hood said he remains comfortable occupying both worlds, but his spiritual purpose comes first.
“Social media always trolls me, but it does not deter me. In fact, it has boosted me and given me something positive because people are seeing what I am doing,” he said.
The album launch gave him fresh evidence that the criticism has not stopped public interest in his work. Tickets sold out, while the event itself became one of the most talked-about music gatherings in Harare in recent days.
The project also turned the launch into a major commercial display. A signed copy of Dhara remaDhara was put up for auction, with bidding rising from about US$45,000 before eventually reaching US$90,000. The winning bid came after Joanna Sharpe, the wife of West Property chief executive Ken Sharpe, entered the contest and pledged to top the highest offer.
The sum gave the evening an unusual headline, but Hood insisted that the album was not a claim that he was the greatest musician in Zimbabwe. He said the title referred to God rather than himself.
“I am not saying I am the dhara in music. The Dhara is God. This album came from my journey, my experiences and what God has done in my life. I bow to God and people may mistake that I named the album, ‘Dhara remaDhara because I want to label myself as GOAT,” he said.
The album features 16 collaborations involving artists from Zimbabwe, South Africa and the United States. The names attached to the project include Jah Prayzah, Canaan Nyathi, Andy Muridzo, Bagga, Kae Chaps and Takura, among others.
Hood said the large number of features was a deliberate attempt to widen the project’s reach and create room for newer voices.
“I have many features because I also wanted to tap into the fan base of those artistes. At the same time, I wanted to give a platform to artists who are coming up and allow myself to diversify,” he said.
He also rejected the suggestion that working with many other artists had diluted his sound.
“I did not change my genre. I fused and blended well. The music has evolved, but I remain Mudiwa Hood,” he said.
Hood said none of the collaborations was a paid engagement.
“Of all the collaborations I did, none was a paid job. I thank God for that,” he said.
The launch also marked a return to the roots of an artist who began far from the wealth and corporate influence on display at the event. Hood has spoken about growing up in Chitungwiza’s Unit D, a township neighbourhood that he described as a difficult place from which to build a successful career.
From those beginnings, he has become a recording artist, businessman and recognisable brand. He has also described himself as a millionaire, using his story to show that a person’s starting point does not have to decide the final shape of their life.
His musical history reaches back to the early years of Zimbabwean Christian hip-hop. He is known for combining rap with gospel themes and rose to prominence through songs including “Ndaita Mari” and “Anhu Acho Tisu”. Earlier projects included Magnet, Mwana WaMambo and The Street Preacher, before he shifted much of his attention towards business.
The pressure facing musicians has changed as the industry has moved further online. Digital platforms have created new ways for artists to release music, reach listeners and build audiences, but they have also brought disputes over unauthorised use, copyright and payment.
Zimbabwean intellectual property expert Moses Nkomo said the country’s Copyright and Neighbouring Rights Act, enacted in 2001, had not been written for the age of social media and artificial intelligence.
“The current Copyright and Neighbouring Rights Act was promulgated in 2001. Back then, the issues that are being raised today were not even heard of. The primary thing that needs to be done is to update the law to cater for the new phenomena that are arising,” he said.
AI expert Evans Sagomba said music placed on platforms such as YouTube could be accessed by companies developing new technologies.
“AI uses data that is freely available on the internet. As long as music is on platforms such as YouTube, it becomes accessible data. Companies can gather that information and use it to train their algorithms,” he said.
Those pressures make the direct relationship between an artist and an audience increasingly important. For Hood, social media attention, even when hostile, keeps his name and projects in circulation. The sold-out launch showed that the noise around him has not prevented people from buying tickets, attending his events or engaging with his music.
National Arts Council of Zimbabwe chief executive Napoleon Nyanhi said Hood’s launch demonstrated that artists could create value beyond conventional music sales.
“Mudiwa has shown us that creativity can have value and that artists must learn to invest in themselves and in their work. We need more creatives who understand that the arts are not only about entertainment, but also about business, innovation and creating wealth,” Nyanhi said.
For Hood, the message to his critics is simple. They may question his music, mock his style or challenge his place in the industry, but none of that will end his career.
The business empire may give him the freedom to walk away. The sold-out album launch may have given him another commercial victory. But he says the reason he stays is deeper than either money or public approval.
Music, in Hood’s view, was never merely a career choice. It was a calling, and he says he will continue answering it.