Music has been one of the Zimbabwean people’s faithful companions since time immemorial. It has been used, among other roles, to entertain, to advise, to warn, to teach, and sometimes, to maintain the status quo in society. Even today, singers exploit this genre for varying purposes. In the song ‘Zimbabwe’ on his 2016 album Double Double, Mhere acknowledges that Zimbabweans are mourning and disgruntled. He sings, advising them not to mourn or complain but rather to be content. In fact, he urges them to take pride in the wonders of nature around the country. Using the socio-historical and the Afrocentricity theories, this article is a critical analysis of his message in the song, in the context of recent Zimbabwean history and experiences. It analyses the lyrics of the song, determining their message. It strives to answer the question: Is the singer singing spiritually, or is he doing so superficially? The article argues that, although the singer could be ‘seeing’ a Zimbabwe that the majority may not see and although the country has many wonders of nature which the singer describes, the people’s disgruntlement is still justified. The article thus concludes that Mhere could be singing spiritually but largely, he seems to be advertising the beauty of the nation to a disgruntled people. This makes his song largely a superficial response to the people’s cry.

自远古以来，音乐就一直是津巴布韦人民的忠实伴侣之一。除其他角色外，它还被用来娱乐，建议，警告，教导，有时维护社会现状。即使在今天，歌手也将这种流派用于各种目的。在他的2016年专辑Double Double中的歌曲“津巴布韦”中，Mhere承认津巴布韦人正在哀悼和不满。他唱歌，建议他们不要哀悼或抱怨，而要感到满足。实际上，他敦促他们以全国自然奇观为荣。本文使用社会历史学和非洲中心主义理论，对津巴布韦最近的历史和经历对他在歌曲中的信息进行了批判性分析。它分析歌曲的歌词，确定其信息。它努力回答这个问题：歌手是在精神上唱歌，还是在表面上唱歌？文章认为，尽管歌手可能会“看到”大多数人看不到的津巴布韦，尽管该国拥有歌手所描述的自然奇观，但人们的不满仍然是合理的。因此，本文得出的结论是，Mhere可以在精神上唱歌，但在很大程度上，他似乎是向不满的人宣传国家的美丽。这使得他的歌曲在很大程度上是对人们哭泣的肤浅反应。