Nyama ye Zimdancehall.

Words by Elspeth Chimedza (Writer & Founder of Groove Magazine International)
Questions by Elspeth Chimedza and Alex Gwaze (Curator)

Zimdancehall has long dominated Zimbabwe’s urban music landscape, evolving into a genre with distinct subcategories. There’s the socially poetic storytelling of Winky D, Tocky Vibes, and Killer T; the party-comedic sing-along anthems of Shinsoman, Enzo Ishall, and Uncle Epatan; and the old-school eclectic groove pioneered by Decibel and Innocent Utsiwegota. These subcategories highlight that Zimdancehall is as essential to Zimbabwean music as Sadza neMuriwo—a true staple of the culture. But before we become too accustomed to its familiar flavours, there’s another name that demands attention.

Zimdancehall’s soundscape shifted when Poptain burst onto the scene with his breakout hit “Munhu WeNyama” (meaning Man of Flesh and bone). Born Ameen Abduljaleel Matanga in Gweru, his journey has been one of resilience—moving across the country before eventually settling in Harare, where he was placed in an orphanage. Once considered one of the genre’s most underrated talents, Poptain has since amassed a string of hits, including “Kokai,” “Bhurugwa Vibes,” “More,” “Fadza Mutengi,” “Muchiuno,” “Before,” “Freedoom,” and “Panado.” His rise has earned him a Zimbabwe Music Award (ZIMA) and multiple Star FM award nominations. Beyond his solo work, his collaborations with some of Zimbabwe’s biggest artists—including Nutty O, Freeman HKD, Holy Ten, Silent Killer, Michael Mags, and Bagga—prove that he has the star power to stand alongside the best, regardless of genre. His show-stealing performance at the “One House Battle Show” against Enzo Ishall remains one of the most iconic moments in Zimdancehall history.

Today, Poptain is one of the most sought-after voices in the industry, thanks to his distinctive fusion of Zimdancehall, Reggae, and Afro-conscious sounds. His music has racked up over 17 million YouTube views, and he has headlined major events like Shoko Festival while performing in Australia, South Africa, and the United Kingdom. Numbers aside, what makes Poptain truly special is his unique sound. While it might seem limiting to label it, I sometimes describe his style as Wilderness Zimdancehall—a raw, soulful expression of ghetto youth culture, survival, and spirituality.

There’s an undeniable undercurrent of empowerment in his music, a theme that extends to his record label, Yardbwoy Records International. The label primarily focuses on supporting and uplifting young female artists and was instrumental in launching the careers of Afropop and Dancehall stars Anita Jaxson and Faa. We talked tow Poptain to get an inside look at his journey, hustle, and the mindset that keeps him pushing forward.

EC: First things first—your name. Some people confuse Poptain with Popcaan. What’s the story behind it?

PT: (laughs) Well, my friend Nuddy Nice actually gave me the name. He’s a big Popcaan fan, so he found a way to make it work. I liked it, and over time, I found my own meaning in it. Poptain can be an anagram—appoint, top pain—so many variations. Interestingly, Poptain is also a name found in Indian culture. But my love for dancehall started when I first listened to Mavado, the Jamaican Dancehall artist, in 2010. That’s when I started looking at music differently and writing my own songs—lyrics, flows, everything.

AG: You have a Muslim name. You’re Muslim and a Dancehall artist? Those two worlds don’t often mix—it’s rare to see a Muslim Rasta! (laughs) How do you balance them?

PT: From the outside, it might look like a clash, but for me, there isn’t really a conflict. If you listen to my lyrics—my medz—you’ll hear influences from both cultures, including local Zimbabwean culture. I try to stay as conscious as I can, but ndiri munhu we nyama (I’m only human) sometimes! (laughs) The most important thing is to keep trying and evolving, because people really listen to the music.

AG: Zimdancehall has a massive influence—it’s huge in the high-density suburbs but less dominant in so-called affluent areas. Why do you think it resonates more with maghetto youth?

PT: That’s easy—it’s the social commentary. Zimdancehall speaks directly to the struggles and triumphs of everyday life in high-density areas. But you can’t say Dancehall isn’t in the suburbs—it is. The sound is evolving, crossing over, and becoming the soundtrack of the entire nation, even in the diaspora. When we perform outside Zimbabwe, we see so many different types of people in the crowd. And the music itself is different now—it’s not strictly dancehall Dancehall.

EC: For me, your music is incredibly versatile. It’s rooted in Zimdancehall but infused with Reggae, Afrobeats, and even Gospel. What drives that diversity?

PT: Thank you for the compliment — and for noticing! I don’t like to box myself into one genre. I need the freedom to express myself in different ways. Having been exposed to different cultures, I naturally blend various influences into my music. My goal is to make Zimbabwean music global, so I incorporate different sounds I love, but without losing its essence.

EC: You’ve worked with Nutty O, Tocky Vibes, Silent Killer, Anita Jaxson, Uncle Epatan, Holy Ten, Allanah, Simba Tagz—the list goes on. What’s the secret to your collaborative success?

PT: You have to build yourself and your fan base. Collaboration is key to that growth, both personally and for my audience. And one thing about me, I genuinely enjoy working with others. Having experienced different cultures, I’ve learned how to blend in and adapt. That makes collaborating effortless.

AG: Going back to social commentary — your lyrics are often quoted on social media, and critics call you a lyrical wordsmith. Is that why you use more Shona than Patwa in your songs?

PT: You have to speak directly to the people! I realised my lyrics have a deep impact, so Shonarising my music allows people to truly understand and connect with me on a deeper level. That way, they don’t get the wrong message, and they don’t need a translator! (laughs)

EC: Let me take you even further back. You once aspired to be a lawyer, and now people see you as the conscience of the new Zimdancehall wave. Do you feel pressure to be a voice for social change?

PT: That was an old dream! (laughs). But that pressure is already part of my journey, and I’ve embraced it. My mission is to keep pushing positive messages and changing lives through my lyrics.

EC: Do you ever miss the days when you were under less pressure? You spent years grinding in the underground scene, and now you’re one of the hottest names in Zimbabwean music.

PT: I loved the underground—it gave me space to experiment freely. But this new phase is another road I must walk. I just pray the numbers keep growing and take me to the highest level ordained for me.

AG: Speaking of higher levels — your performance at the “One House Clash” against Enzo Ishall was electric. It’s iconic to me. Since then, you’ve only gotten better and better live. Any advice for up-and-coming artists about stage presence?

PT: That was so far back! (laughs) I had almost forgotten about it — thanks for the reminder. But yes, for newcomers, my advice is: Enjoy yourself on stage! Express yourself fully and give it 100% every time. Performing for big crowds is not work—it’s a privilege. Just show the crowd a good time.

EC: Lastly, you’ve been on ZBC TV and done a few TV appearances. Do you see yourself branching into acting or presenting? What’s next for Poptain?

PT: The future for me looks entertaining! (laughs) I used to present on ZBC back in the day, and it was fun. Right now, I’m focused on music — pushing my work and my hustle. I don’t know what the future holds, but I’m open to exploring different avenues in entertainment. Maybe even producing my own shows —who knows?

---

The future is uncertain, but with his talent for genre-bending sound, intricate lyricism, and deep connection to Zimbabwean culture, Poptain is set to redefine the Zimbabwean entertainment scene. He isn’t just making music; he’s creating a movement—one that blends spirituality, social consciousness, and pure artistry. These elements are what Zimbabweans are known for, and it’s high time we moved beyond categorisation and focused on putting more of ourselves into our art—whether it’s presenting, live performance, or collaboration. Most importantly, let’s not forget to enjoy ourselves.

---

Follow Poptain at: @realpoptain