THRUST at the deep-end when his legendary father Tongai ‘Igwe’ Moyo passed on Peter Moyo had not only to mature fast, but develop musical skills that had all along been superseded by football.
Voice training and mentorship by veterans that included gospel music supremo Charles Charamba saw the struggling heir to the throne gradually upping his game.
His first album received rave reviews, but credit went not to him for some of the songs had been composed by his father Tongai.
But the latest offering is Peter’s product.
The 27-year-old’s second album in two years and a career spanning four years sees him becoming sassier and more confident.
The ‘Young Igwe’ pulls out all the stops, fully utilising the veterans of Utakataka Express such as Spencer Kumbulani and chanter Gift Katulika popularly known as ‘Shiga Shiga’.
The album Mabasa aMwari has focus; it strengthens the Utakataka identity.
He morphs from a young man unsure of himself to a confident and mature musician.
His voice that was a cause for concern is malleable enough, but what stands out is the instrumentation and the depth of his message.
The word maturity best describes Peter Moyo and this new offering.
Mabasa aMwari is evidence that the lad now takes music as a serious business.
His has been a struggle to prove that he is worthy of the mantle thrust on his shoulders.
Sympathy is a fickle currency; it does not run long and diehard Utakataka fans had begun demanding to see the vehicle move forward rather than just revving.
His first album did not earn him much ground or traction in the music industry.
However, it is this new album that the ‘Young Igwe’, who made bold declarations prior to its release, will be judged upon.
He declared that the album would not only prove his salt, but also rescue the Sungura genre from the abyss where it has been placed by Zim-Dancehall.
He even declared that the album would give Alick Macheso, the Sungura king, a good run.
A bold statement it was.
His father’s robes would not make him a musician, sympathy would not carry him for long and his dad’s rich discography would not catapult him to greatness.
This, Peter has always known.
And to work he went.
He brought back those that had left the band when his father ‘Dhewa’ departed for the yonder world.
Veterans Kumbulani and Shiga Shiga left the outfit and reasons for leaving included feelings that they could not be led by a ‘small’ boy.
But with each outing, his confidence grew and the great band did not crumble.
Eventually, the parties found each other and the band re-united with its prodigal sons.
And value they added to the outfit.
This is one album I will not proffer a comment or verdict.
Suffice to say it was long in coming.
It was a creation born of hard work.
It is work from a determined artiste.
It is music from a son who wants to prove not only himself but to a huge force, though gone.
It is a composition that seeks to please a demanding and often heartless, in its criticism, fan base.
Peter silently and diligently worked on the album that will define him and determine the trajectory his career will take.
Mabasa aMwari, is not only a continuation or correction but has broken the silence that has been haunting the Sungura genre.
While Sungura has many players the honours to set the pace in the genre has always been on the two leading outfits, Macheso’s Orchestra Mberikwazvo and Utakataka Express.
Utakataka’s five-track album carries songs that include; ‘Samasimba’, ‘Mavanga’, ‘Rudo Pasina’ and a bonus track ‘Pasina Mari’, a collaboration with Botswana’s diva Slizer.
The songs deal with topical issues affecting society.
In the album he advises, he warns and he pleads with the Almighty.
For example in his song ‘Rudo Pasina’, he sings, “Vachawanda vachakupfimba ka dhiya wangu iwe asi rudo pasinaka.
“Vachakutsvetsva nemari dzavo asi rudo pasina.”
The artiste also deals with the issue of domestic violence among others.
Peter’s recent album is a show of maturity, but the verdict is yours dear reader.