#malackceangwayi#freddiegwala#Mtharimba#southafrica#zimbabwe

Zimbabwean born artist-manager, Malackcean Gwayi raises icons through purposeful stewardship.

Sibongile Kobo

By Sibongile Kobo

03 Feb 2026 - 12:25

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Zimbabwean born artist-manager, Malackcean Gwayi is stewarding legacies with the assurance and humility of an industry veteran. In a conversation with Music In Africa’s Sibongile Kobo and Tshifhiwa Tendani Mungoni, the music producer and songwriter reflected on the beginning of a casual commitment that turned into a calling, and the character and hard work that it takes to maintain it to this day. 

 

Humbleness builds solic Foundations

 

Freddie Gwala, Jacqueline, Neo Maphaka (CJB), Tshedi Malaika, Om Alec, and Mpho Majiga are among the iconic artists under Gwayi’s management. His roster also includes Martin and Ndolwane Super Sounds, Platform ONE, Bafana Kunene, Tafula, and Mini Cooper. Further names on the list are Mtharimba, Sphura Thee Level, Masokana, Mazinywensimbi, Mahlalela, as well as Mike Sibanda and The Sons of the Soil. “There are a lot of artists that I manage,” he explains.

But Malackcean Gwayi is adamant that managing artists started more out of necessity, than a proper plan. “It wasn’t my dream or my aim,” he says. His first experience came around 2013, through working with DJ Oskido’s younger brother, At the time, he admits, he was not looking at management as a lasting career.

But as people around him began to notice the good work he was doing, they continually encouraged him. And in 2020, after consistent hard work, he managed his first big artist: Freddie Gwala. “My first big artist played a huge role in showing me that I can do it,” says Gwayi. This pivotal moment came when a Zimbabwean comedian he was working with, introduced him to one of his colleagues. This visit led them to Freddie Gwala’s home in Soweto and that meeting became the catalyst for a long-term working relationship.

Managing artists and retaining relevancy

His artists vary, in terms of sound, from Afro-influenced music to disco and Amapiano. When it comes to choosing artists, he does not focus on genre. “I don’t choose,” he explains. “I can work with an artist for six months without signing.” For him, the priority is compatibility and understanding. “I want us to understand each other.”

Belief is central to his approach. “You have to believe in the artist first,” he says. Once the artist is signed, that belief translates into a relentless effort to maintain the relevancy of that artist. “Sometimes I don’t sleep,” he says. “I have to be on social media. I don’t just do any marketing, I do aggressive marketing.”

Gwayi plans daily for each artist under his management, always looking to introduce something new. “So I work really hard.” But managing multiple artists at once, for Gwayi, goes beyond contracts. “It’s not all about managing,” he explains. “It’s about checking on them. Asking them, ‘are you okay? Is everything okay?’” He understands that an artist is not merely a music-making-machine, but a human being, and this understanding personally allows him to better advise them, help them navigate challenges and get a level of excellency out of them.

With his artists consistently being booked throughout the year, Gwayi believes that a major key to being a good artist manager begins with a good personal relationship between the artist and the manager. “We must have a connection,” he says. “I must know your cousin. I must know your mom.” He even admits that many of the artists he works with know his family personally, including his mother. “That’s how I work,” Gwayi exclaims. “Like we are a family.” This philosophy extends to promoters, sponsors and event organisers. He makes it a point to actively build relationships by maintaining regular contact.

The African market and the exploitation of artists

His work has extended beyond South Africa into Botswana, Namibia and Zimbabwe, where he has built connections through workshops and collaborations. While he admits it is difficult to compare markets, he believes South Africa currently offers strong opportunities. “South Africa is doing very well when it comes to the market,” he says.

Reflecting on the history of music in Southern Africa, he acknowledges that many iconic artists of the past were exploited. This awareness shapes how he works today. His focus on transparency, trust and long-term relationships is his way of ensuring artists feel protected and valued.

Through consistent hard work, empathy and the constant determination to do better, Malackcean Gwayi is slowly redeeming the failures of the music industry, while building lasting relevance in a business that tends to be brutal at times. 

For booking information, contact Malackcean Gwayi here. On (065 )312 3151 or Email :malackcean2@gmail.com

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