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 (née Silva), 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 (bride price), 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 & Khiama Boys
It was during this time that Alick Macheso began to take music seriously, a decision that would alter the course of his life. 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 raw talent, Chinyani immediately invited him to join the Vhuka Boys, a group based in the same area. Macheso eagerly 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 forward in his journey, 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.
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 (who joined later), Nicholas Zakaria, Cephas Karushanga, Margaret Gweshe (Zakaria’s wife), 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” (1987–1988), 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.
Rise of Khiama Boys
Following the departure of several original members, Alick Macheso remained loyal to Nicholas Zakaria, and together they committed to elevating the band’s musical direction. In 1990, they collaborated on the release of Kubva Kure, their debut album as a duo, which served not only as a musical project but also as a statement—drawing a clear line between themselves and Cephas Karushanga’s newly formed group. The album was a commercial and critical success. The title Kubva Kure, which translates to “Coming from Far,” held deep symbolic meaning. In the context of Zimbabwean Sungura music, it reflected the artists’ long and challenging journey—highlighting themes of perseverance, growth, and resilience. The emotional depth of the album resonated with listeners who related to overcoming hardship and celebrating progress. Kubva Kure earned a gold disc upon release and gained widespread airplay, with the title track dominating radio stations and public spaces, affirming that the Khiama Boys were still very much alive and thriving. Building on that momentum, the group released Kutambura in 1991, which gained major attention for its title track, particularly noted for a standout solo bass section by Macheso. This was followed by Kuva Nemari in 1992, featuring fan-favourite tracks like Kuva Nemari and Ayude—the latter performed in Nyanja and admired for its rhythmic arrangement and unique beat pattern. In 1993, they released Chikumbiro, an album that received strong radio play, especially on Radio 2 (now Radio Zimbabwe), and held its own in competition with Leonard Dembo’s Mazano. Chikumbiro further solidified the group’s position in the Sungura scene. Each of these releases showcased the group’s evolution and set the stage for one of their most iconic albums to follow—featuring a hit track that remains popular to this day.
1994: Success in Mabvi Namagokora
In 1994, the Khiama Boys released Mabvi Namagokora, one of their most successful and best-selling albums—marking its 30th anniversary in 2024. The album featured standout tracks such as Mabvi Nemagokora, Khama, and Theresa, with Mabvi Nemagokora emerging as a definitive fan favourite. According to radio stations across Zimbabwe, the track was voted the best Khiama Boys song over the past 44 years, reflecting its enduring popularity and cultural impact. Released during the golden era of Sungura music, when the genre dominated airwaves and dancefloors, Mabvi Nemagokora resonated widely with audiences and elevated the band’s prominence. Nicholas Zakaria gained further recognition for his role on the album, while Alick Macheso—sporting his iconic Afro hairstyle at the time—was becoming a household name, celebrated for both his vocal delivery and exceptional bass guitar skills. The song’s popularity even surpassed other beloved Khiama Boys classics such as Chikumbiro, Tsamba, Mazano, Zomvelamvela, Makomborero, Ndine Mubvunzo, Ruregerero, Musoro Wemba, Kubatana Kwevaviri, and Ida Anokuda. Following this success, the duo continued to release well-received albums including Ndine Mubvunzo (1995), Chiraramo (1996), and Zvirimudzimba (1997), all of which performed strongly. Notably, Macheso’s bass solo on Ndine Mubvunzo captivated listeners and further established his musical identity. During this period, Macheso’s talent was being increasingly recognized—both for his instrumental mastery and his growing vocal presence. However, this flourishing partnership and momentum would begin to shift in 1998.
However, as the Khiama Boys continued to rise in popularity, an unexpected turn of events shifted the group’s trajectory. In the spring of 1998, Nicholas Zakaria—affectionately known as Madzibaba—made the surprising decision to step away from music to pursue a career in truck driving. He put down his guitar and joined a local company, leaving the band and its members at a crossroads. While Zakaria moved on with his life, the rest of the group, particularly Alick Macheso, faced significant challenges in his absence. The departure marked the beginning of a difficult chapter for Macheso, who struggled both emotionally and financially. With no stable income and limited opportunities, he found himself searching for recording studios and ways to restart his musical journey. The situation worsened when he learned that Zakaria had recruited a new bass guitarist, Nasho Azati, effectively closing the door for Macheso’s return to the Khiama Boys. Without funds for recording and no platform to perform, Macheso found himself in one of the lowest points of his early career, unsure of what lay ahead.
Problems with Nicholas Zakaria
After working under Nicholas Zakaria in Khiama Boys from the early 1980s to the mid-1990s, Alick Macheso found himself on the wrong side of his mentor after some unknown disagreement, prompting Zakaria to lock away all the band’s instruments and abandon music to become a long-distance truck driver. This act plunged Macheso into deep hardship—he had no income, no food, no rent money, no school fees for his children, and clung desperately to the hope that Zakaria would one day forgive him and release the equipment so they could perform live shows again, but that hope proved futile. According to Sungura music legend and producer Bothwell Nyamhondera, Macheso would wake up daily at 4 a.m. and go to Zakaria’s home to plead at his gate, but Zakaria would only respond briefly through a corner of the curtain before returning to bed. Eventually, a neighbor bluntly told Macheso, “Can’t you see there’s nothing left between the two of you? Go and start your own career before it’s too late,” sparking his decision to seek help from Gramma Records to start his own band. Unfortunately, they turned him down, stating that only Zakaria had a contract with them. With all doors closed, Macheso would walk on foot from Chitungwiza to Msasa, hoping to catch a break, until Bothwell Nyamhondera personally stepped in with $2,000 to help him prepare for recording. Reinvigorated, Macheso teamed up with Zaka Zaka, Donald Gogo, Thomas Dasinto, Rodgers Fatiya, Jabulani Chimiti, and Gift Putazi to form the group Orchestra Mberikwazvo and began intense rehearsals. On the day of recording, another blow struck when the band members refused to play unless each received $2,000 upfront, which Macheso couldn’t afford. Once again, Nyamhondera risked his own job and salary by standing as surety for a $10,000 loan to pay the musicians. The session went ahead, and according to both Macheso and Nyamhondera, something supernatural overtook Macheso in the studio—he appeared possessed, transforming the entire energy at Gramma Records and even drawing employees from their duties to witness his powerful singing and guitar playing. This may have been the fulfillment of a prophecy made by Henry Peters of Shed Studios in the early 1980s, as recalled by Shepherd Chinyani, who said, “This boy,” referring to Macheso, “would one day become a great man.” That day, the magic happened—Musi iwoyo pakarohwa ngoma—and they completed the album Magariro, which featured tracks like "Sarah," "Pakutema Munda," "Kushungurudzwa," "Baba naMai," and more, officially marking the birth of Orchestra Mberikwazvo, all thanks to the unwavering belief and support of Bothwell Nyamhondera. Bothwell had seen Macheso’s potential back when he was still under Zakaria, who, although a talented musician himself, often suppressed Macheso’s creativity by insisting, “Ndini muridzi weband,” whenever Macheso made suggestions. Witnessing this, Bothwell would often step in to support and encourage Macheso, and when Zakaria stepped away from music, he convinced his superiors to lend Macheso money to buy equipment for rehearsals—setting the stage for one of Zimbabwe’s greatest musical success stories.
Indeed, while Alick Macheso and Nicholas Zakaria were once seen as a powerful musical duo during their time in Khiama Boys, their split was far more tense and emotionally charged than many fans were led to believe. In the song "Pakutema Munda", Macheso appears to take a thinly veiled shot at Zakaria, singing lines that can be interpreted as a rebuke: "Pakutema munda (takatanga tose riri sango), kuzoti tapedza (vanhu vakabvunza, 'Ndevapi varima apa?'), pakati pedu (pakava nemumwe akadavira), 'Ndini ndarima, kugobora zvese nekudyara mbesa'". This metaphor-laden verse seems to reflect on their humble beginnings—clearing the musical “bush” together—and then accuses someone (presumably Zakaria) of taking sole credit for the success they built as a team. This wasn’t the only instance either; Macheso is said to have sent further subtle jabs in songs like "Chitubu" and "Mwana WaMai Wangu", painting a picture of a strained relationship masked by public cordiality. On the other hand, Nicholas Zakaria responded to these perceived attacks with grace and reflection in his 1998 album Yeuchidzo, particularly in the songs "Shambadzai", "Zomvelamvela", and "Ndingapaite Sei?". In Shambadzai, he sings: “Hapana kana mumwechete akandibvunza kuti chii chakanetsa Madzibaba, fambai hedu mushambadze pamunodira asi handina mhinduro kusvika narinhi”, which translates to a somber acceptance of the situation, expressing that no one ever truly asked him what went wrong, and that despite the narratives being shared out there, he still has no answers. Despite the tension and musical back-and-forth, it’s important to note that the two giants eventually reconciled and talked through their differences, a testament to their mutual respect and recognition of the incredible journey they shared in building the Sungura genre.
