In an industry polluted by attention seekers, Simba Tagz stands apart.
Words by Alex Gwaze (Curator)
Questions by Alex Gwaze & Joanne Peters (Image Coach & Philanthropist)
“The line between producer and artist was blurred in the early ’90s,” Robbie Ettelson once observed in Complex, pointing to figures like Kanye West, Dr. Dre, Pharrell, and J Dilla — artists who became titans in both realms. In Zimbabwe, Simba Tagz belongs in this lineage, crafting his career as both a solo artist with two albums under his belt and a sought-after producer for the likes of Saintfloew, Tamy Moyo, Young Gemini, EX-Q, ASAPH Afrika, and Tocky Vibes. Yet, unlike some producers who tag their beats, Tagz is more of a chameleon. His focus remains firmly on amplifying the artist’s vision rather than branding his own.
But his influence extends beyond Zimbabwe. As the founder of Showtime Records Africa, his production list reads like a who’s who of African music, featuring the likes of Burna Boy, Wizkid, Shatta Wale, Mr Eazi, Sarz, Ice Prince, Lady Zamar, Skwatta Camp, Reason, Zubz, Maleek Berry, Olakira, and countless others. This vast network of collaborators is a testament to Simba’s ability to bridge cultures and styles, crafting an African sound that bridges cultures, eras, and cultivates conversations.
This alchemy of African sounds has led to Tagz being chosen as a production and writing mentor for emerging artists in Mr Eazi’s Empawa program. “I was very excited to hear that he [Mr Eazi] wanted me to be there, especially with some of the heavyweight producers, radio personalities, and media entities that were going to be part of that.” For Tagz, mentoring is more than just teaching — it’s a chance to cultivate the next generation of talent and ensure that Africa’s music scene continues to thrive on the global stage. “Music is, after all, a form of communication,” Tagz explains. “Once you release it into the world, it becomes a dialogue — not just with fans but with other artists, musicians, and creators.”
It’s statements like this that underscore his desire to connect with the people. Tagz doesn’t use his music to preach or posture; instead, he functions as a bridge — connecting cultures, genres, and people. That’s probably why renowned brands like Rémy Martin and Simbisa in Zimbabwe chose him as their ambassador in Zimbabwe, further cementing his position as a multifaceted figure in both music and culture. We had a chat with Simba to know more about what drives this multidimensional artist, what keeps him grounded, and how he envisions the future of Zimbabwean music in the global context.
AG: What initially drew you to music, specifically producing?
ST: It was always something I could just sense. I remember, if people around me sang a song wrongly, I’d try to correct them. So when I started making music, it felt very natural for me to try to bring the best out of those around me.
AG: You’re known as both a producer and an artist. Which do you prefer, producing or performing?
ST: I don’t look at it in that way. For me, there isn’t an aspect of music that comes before the other, because it’s all my expression. I’m linked to music I produced and to music I sang — in the same way. It’s from the same source.
AG: Do you have any favourite works, what are the top five albums ever made?
ST: Again, this one for me is not easy to answer. Because, this one for me, changes every year. I’m a music lover, and it’s hard to pick favourites from something you love (laughs).
JP: I can tell you love music. You collaborate often, with different acts from all over. Can you describe your process?
ST: Collaborations really depend on time. Some collaborations take minutes in the studio, and others, well, for example, one of my longest collaborations, My Lover, took months. This was due to touring schedules between myself and Mr Eazi. But I didn’t mind the wait because I understand artists and how we work.
AG: With so many great artists out there, how do you choose who to collaborate with?
ST: At this stage in my musical career, I choose artists that I feel would push me beyond my boundaries. I just try to be better than before. We can do it for new markets — (money) — (laughs) but for me, it’s about pushing Africa further along the way to international recognition.
AG: You’ve worked with Nigerians, South Africans, etc. How do you overcome the language and cultural barriers?
ST: Music is the first universal language. We speak in melodies and harmonies before all else. So I just let the music do the talking. You know if it’s good music, you can feel it in your soul even if you don’t understand the lyrics. Music is that powerful.
JP: As a well-travelled artist, how do you rate African producers on the global stage?
ST: African producers are representing. Not just in Africa but in the whole world, I would say. We are moving forward, and we have people in every aspect of the industry. Plus, we have what it takes to break onto the world stage.
AG: Are there any lessons, tips, or concepts you’ve learned from your international peers?
ST: (laughs) Let me just say, call me, DM me, work with me — I’ll tell you in person.
AG: (laughs) Okay, keeping your secrets close to your chest, but I’m sure you can tell us what does Zimbabwean music mean for you?
ST: (laughs) I can answer that. I feel, our expression, which I feel, due to globalization, is just as important as any other country’s expression right now. Zimbabweans are listening to Zimbabwean music just as much as they do to international artists these days. Maybe even more. And so many people are learning Zimbabwean languages and cultural quirks because we are now visible all over the world. We haven’t saturated the market yet with our sound but we are expressing ourselves authentically.
JP: Can I ask a follow-up as my last question? Okay, finally, you’ve met a lot of Zimbos globally. Is there a “Zimbabwean sound” or vibe? If yes, can you describe it?
ST: That’s very subjective. I do agree that it exists, and in some ways, we’ve left it out of our cultural products. But also, in some ways, we’ve incorporated it into our music. But we shouldn’t force a Zimbabwean style. We should just let it carry its natural course out into the mainstream. Don’t force the vibe!
We agree with Simba, art should be organic, unforced, and deeply authentic. This belief resonates not only in his music but in how he navigates the world as an artist, mentor, and cultural ambassador. Tagz isn’t just producing hits; he’s cultivating a ‘vibe.’ Whether working behind the scenes or in the spotlight, his artistry is rooted in an ethos of collaboration and cultural dialogue. His ability to seamlessly connect local and global perspectives has made him a figurehead of the African music renaissance. In both art and business, Simba Tagz is proving himself to be a man for all seasons.
Follow Simba Tagz at: @simbatagz
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