Alick Macheso
Alick Macheso is a Zimbabwean musician.
His album Simbaradzo was and still is the best-selling album of all time in Zimbabwe with songs like "Mundikumbuke" and "Amai VaRubhi". He followed up on the success of Simbaradzo with
his album Zvakanaka Zvakadaro. Macheso can dance, sing, and play the bass, rhythm and lead guitars. In 2011 he initiated the well-known Zora Butterr dance which has come to be known as Macheso's initiative. On June 10, 2022 he released his 12th album Tinosvitswa Nashe.
Early life
Background, Personal Life & Upbringing
Alick Silva Macheso was born on June 10, 1968, at Bindura Hospital, located at a considerable distance from the farm where his parents worked as laborers. He is the son of Hudson Chisale and Emilia Chisale, who were of Malawian and Mozambican descent. Both parents had migrated to Zimbabwe in pursuit of opportunities in agriculture.Macheso was named after his mother’s surname, “Silva,” reflecting her Mozambican heritage with Malawian roots. His father, Hudson Chisale, was a passionate musician, a trait that would later manifest in Macheso's own career. However, cultural and familial differences led to tensions—Emilia’s family did not approve of the union, resulting in the relationship ending shortly after Macheso's birth.
When Macheso was only three months old, his father left permanently. Prior to their separation, Hudson had paid £5 as lobola, which is approximately ZWL 405,270 in current market value.
Macheso was raised primarily by his mother and maternal grandmother on a farm in Shamva, located in Zimbabwe's Mashonaland Central Province. He grew up in modest conditions and was surrounded by strong maternal figures who played a significant role in his upbringing. He has four paternal half-brothers—Partson, Harrison, Mike, and Jones—and one half-sister, Hilda.
Struggles
Alick Macheso is the eldest and first-born in his family and was well-loved during his upbringing. Despite the affection he received, his childhood was marked by hardship, as he grew up without a father and faced financial struggles, including an inability to afford school fees. He completed Grade 7 at the age of 12 in 1980 but could not continue with his education due to his mother’s financial constraints. From a young age, Macheso showed an interest in music, crafting homemade guitars using twine strings taken from his grandmother’s fishing rods—often earning him discipline for it. Taught to play the guitar by his uncles, music was always a part of his life, though initially he dreamt of becoming a businessman to support his family.Influenced by the music of Jonah Moyo—who was widely popular and known for mentoring artists like Macheso, Leonard Dembo, and Oliver Mtukudzi—he began to take music more seriously. At the age of nine, he started playing the guitar, despite his family not understanding his passion. In 1975, a traumatic incident occurred when his estranged father attempted to kidnap him by luring him with sweets while hiding in a nearby maize field. Fortunately, Macheso’s uncle intervened just in time. He has openly spoken about the lasting impact of his father’s absence, once stating, “Kukura ndisina baba kuchiri kundishungurudza,” which translates to “Growing up without my father still haunts me.” Growing up on a farm in Bindura with limited recreational opportunities, his banjo became his main source of entertainment. After leaving school in 1983, Macheso moved to Harare in search of employment but struggled due to his lack of qualifications. Relatives advised him to return to Shamva, but determined to change his circumstances, he refused—and this decision marked a turning point in his life.
Musical career
1983: Vhuka Boys and Khiama Boys
It was during this time that Macheso began to take music seriously. One morning, while playing the Vhuka Boys’ hit song “Monica” outside his home in Dzivaresekwa, he caught the attention of Shepherd Chinyani—the band’s leader—who happened to be passing by. Impressed and surprised by Macheso’s talent, Chinyani immediately invited him to join the Vhuka Boys, a group based in the same area. Macheso accepted the opportunity and was thrilled to share the news with his family. However, an unexpected setback followed: although he had aspired to play rhythm guitar, the only available role was for a bass guitarist. Despite this, Macheso accepted the position, recognizing the opportunity as a vital step toward his goal, especially given his need for employment. During his time with Chinyani, Macheso recorded at least two singles and gained valuable experience. At that same time, Shepherd Chinyani was in the process of forming a new band following a split with fellow musicians Nicholas Zakaria and Cephas Karushanga. Meanwhile, Zakaria and Karushanga were assembling their own group and seeking new talent and ideas—eventually leading them to discover Macheso, whose growing reputation was becoming difficult to ignore.1984: Khiama Boys formation
Cephas Karushanga and Nicholas Zakaria eventually persuaded Alick Macheso to leave the Vhuka Boys and join their newly formed group. Without hesitation, Macheso accepted and transitioned to the Khiama Boys—a name proposed by Zakaria, symbolizing “diamond” in local terminology, reflecting the group’s potential and value. Shepherd Chinyani, leader of the Vhuka Boys, was understandably disappointed by Macheso’s departure, having previously experienced similar betrayals from other band members. However, rather than respond with anger, Chinyani chose to approach Macheso directly, offering his blessing and encouraging him to remain visible in the music scene, acknowledging that such transitions were part of the industry. Macheso, who had been scouted by Zakaria during a performance, went on to spend nearly 14 years with the Khiama Boys, from age 15 to 29, where he was mentored by both Zakaria and Karushanga. The band’s initial lineup included System Tazvida, Zakaria Zakaria, Nicholas Zakaria, Cephas Karushanga, Margaret Gweshe, Levison Chakanyuka, and Tineyi Chikupo, who died in 1992. As the youngest member, Macheso quickly absorbed the lessons and discipline of professional musicianship, often referring to Nicholas Zakaria—whom many mistakenly believe to be his biological relative—as a mentor, brother, and guiding figure.During the early Khiama Boys era, Macheso was sometimes denied access to shows due to his youthful appearance but would sneak in and perform regardless. The band enjoyed significant success, particularly with one of their debut and popular singles “Mabhauwa”, written by Karushanga and sung by System Tazvida. However, tensions emerged after the track sold 75,000 copies and earned Tazvida only $800. Feeling underappreciated and exploited, Tazvida voiced his frustrations publicly, saying, “I could not understand how the Khiama Boys could pay me $800 for a song that did all that well. They told me I didn’t have a contract with the record company, and the little they had given me was what was due—but it was my song.” This fallout led to the departure of Tazvida, Karushanga, and Chikupo, who briefly formed Mabhauwa Express. The group was short-lived, and Tazvida later found greater success forming Chazezesa Challengers with his brother Peter Tazvida and musicians from bands such as Nyami Nyami Sounds, Super Sounds, Kasongo Band, and the Sungura Boys. Despite the split, it proved to be a turning point—solidifying Macheso and Zakaria as the central figures of the Khiama Boys.
Macheso’s early struggles with Khiama Boys
Alick Macheso had been part of the Khiama Boys since the age of 15 and had been playing the guitar since he was just seven years old. Despite his undeniable talent, his youthful appearance posed significant challenges during live performances. Due to his age, height, and boyish looks, security personnel often refused him entry into venues, unable to believe he was an official member of the band. As a minor, he was legally prohibited from entering nightclubs and adult entertainment spaces, making it difficult for him to gain access to the very shows he was meant to perform at. Macheso recalls how his manager at the time, Shakespeare Mangwende, frequently had to convince event organizers and security guards that he was indeed part of the band. On several occasions, he was warned by authorities, as his presence in such spaces without being of age was illegal. As a precaution, the band kept a standby guitarist in case Macheso was barred from performing. Often, Mangwende had to sneak him in through the back door, where he would remain hidden in the changing rooms until it was time to take the stage. Despite these obstacles, his skill and dedication made him indispensable. For Macheso, this wasn’t just a passion—it had become a profession and a means of survival, even at such a young age.During the early years of his career with the Khiama Boys, Alick Macheso and the band spent much of their time touring rural areas, farms, and mining communities. Performing in Harare proved difficult due to the intense competition from established acts such as Leonard Dembo, Thomas Mapfumo, Oliver Mtukudzi, James Chimombe, the Four Brothers, and Safirio Madzikatire, among others. Macheso recalls how his mother initially opposed his decision to pursue music, fearing it would amount to nothing. “Amai vangu vakaedza kundirambidza kuita basa racho nokuti vaiona sokuti ndaishandira pasina. I had nothing else zvekuita and music was my passion so ndaifanira kujoni,” he says, meaning: “My mother tried to stop me from doing the job because she felt I was working for nothing. I had nothing else to do and music was my passion, so I had to join.” Despite the challenges, Macheso’s extraordinary guitar skills began to draw attention.
Audiences were often in disbelief that someone so young could play with such precision. In many instances, fans would request the band to stop other instruments mid-performance just to confirm that it was indeed Macheso playing live, suspecting it was a backing track or trick. This growing recognition helped secure his place in the band. As a young musician still adjusting to life on the road, he endured harsh realities that shaped his growth. He recalls, “Pane dzimwe nguva dzataipedza unenge mwedzi tichitenderera nzvimbo dzakasiyana munyika tichidzokera kuHarare tisina zvekuita mushure mezviratidzwa. Chakanga chiri chiitiko chinorwadza,” which translates to: “There were times when we spent almost a month touring different places in the country and returned to Harare with nothing to do after the shows. It was a painful experience.” The financial hardships extended to his personal life as well. Macheso reflects on the difficult period after marrying in 1986: “Pandakaroorwa muna 1986, upenyu hwakanga hwakaoma. Mudzimai wangu akanga akasimba uye aifanira kutarisana nemamiriro ezvinhu akaoma. Taigara kuEpworth tichibhadhara $2 pamwedzi uye taingove nemapoto maviri nendiro shoma. Mwanasikana wangu wokutanga, Sharon, akaberekwa mumamiriro ezvinhu akadaro. Amai vangu vakatozotora mukadzi wangu nemwana kuti vagare navo kuShamva nekuti vaiona kuti ndaizovauraya nenzara. Vakagara ikoko kwerinenge gore ini ndichishanda nesimba musango remimhanzi kuti ndiunganidze madhora mashoma kuti ndivatsigire.” Translated: “When I got married in 1986, life was difficult. My wife was strong and had to endure tough conditions. We lived in Epworth paying $2 a month in rent, with only two pots and a few dishes. My first daughter, Sharon, was born in those conditions. My mother later took my wife and daughter to live with her in Shamva because she feared I would starve them. They stayed there for about a year while I worked tirelessly in music to raise a little money to support them.” These experiences, though challenging, helped shape Macheso’s resilience and commitment to his musical journey.