Zakes Bantwini Calls For Reform For The SAMAs, Questions Awards’ Relevance

Zakes Bantwini has publicly challenged the relevance and credibility of the South African Music Awards (SAMAs), arguing that the institution has become disconnected from the artists and culture it was meant to celebrate.

In an open letter titled “When Our Own Stars No Longer Shine: A Call to Reclaim the South African Music Awards,” Zakes frames the current debate around recognition in South African music as a broader cultural reckoning.

“The Day That Stopped a Nation,” he writes, describing a moment that exposed “a much deeper problem within our music industry.”

Central to his argument is the reaction to Tyla’s international success, which he says should have been a point of pride rather than confusion or controversy. He is explicit that Tyla’s achievements are deserved and reflect the global power of South African music. The issue, he argues, lies in how local institutions responded to that success. “This was never about Tyla,” Bantwini writes. “It was about what her success revealed about us.”

According to Zakes, the SAMAs increasingly appear to value external validation over sustained local impact, reinforcing the idea that success only truly counts once it has been recognised elsewhere. “We have created an environment where our artists must first be celebrated by the world before they are fully embraced at home,” he argues.

Despite South Africa’s global cultural influence, particularly through genres like amapiano, Zakes says the awards have failed to evolve alongside the music. “Our music is moving faster than our institutions,” he writes, adding that the SAMAs feel “out of touch with the very scenes driving South African music forward.”

The letter also highlights a growing sense of alienation among artists, pointing to unclear judging processes, weak communication, and a lack of transparency. “Artists, we need to show up,” Zakes writes, “but it becomes harder to do so when the system does not show up for us.”

He argues that the power dynamic has shifted, with artists increasingly able to build careers without institutional approval.

“The truth is, artists no longer need the SAMAs the way the SAMAs need artists,” he writes.

Zakes places responsibility not only on the awards but also on the Recording Industry of South Africa (RISA), calling for leadership and structural reform. “RiSA must lead the change,” he writes, warning that without accountability, trust cannot be rebuilt.

The letter closes with a stark observation about the current moment. “What has happened now,” Bantwini writes, “is that the culture has moved on.”

His message is clear: without meaningful reform, the SAMAs risk fading into irrelevance as South African music continues to thrive beyond them.