By Princess Eugene Majuru
As April 2026 approaches, UK fans are counting down to the much-anticipated performances by Hulengende and Mallotti. The buzz is undeniable. From TikTok to Instagram, the duo is trending, their videos circulating widely — even among those who had never followed them before. Love them or question them, one thing is certain: people are watching.
Many UK-based Zimbabweans who have spoken to News of The South say they are eager to witness the talent live this Easter season. For them, it is about music, energy, and celebration — not social media skirmishes.
Controversy and Celebrity: A Global Reality
Entertainment has never been free of controversy. Globally, artists have faced criticism, backlash, and public scrutiny — yet the stage lights remain on.
A clear example is Chris Brown. Despite years of highly publicised personal and legal challenges, he recently filled FNB Stadium in South Africa. The show was so successful that an additional date was added — and tickets were snapped up within hours. The stadium was full. The music spoke. The fans showed up.
This is not unique to American artists. Caribbean performers, African stars, and European celebrities have all navigated storms of public opinion. Yet audiences often separate the art from the noise.
The Zimbabwean Context
Closer to home, similar calls for boycotts have surfaced before. When discontent once surrounded Jah Prayzah’s UK shows, there were loud voices promising empty venues. Yet when tour dates arrived, tickets sold out. The same critics were present — quietly enjoying the music. It raises an important point: outrage on social media does not always translate into absence at the venue.
Social Media Is Not the Stage
Mallotti’s involvement in online exchanges with other Zimbabwean socialites has sparked debate. Some care workers and nurses in the UK have expressed that they felt offended by certain statements. That reaction is valid — everyone is entitled to how they feel.
But entertainment culture worldwide demonstrates that controversy and performance often exist side by side. Social media amplifies disagreements; algorithms reward conflict. What trends online can sometimes overshadow what happens in real life.
Hulengende, by contrast, has largely remained focused on the music. Observers note that Y2K have shown professionalism by avoiding public back-and-forth commentary, choosing instead to operate quietly behind the scenes. In show business, that restraint is often strategic.
Why Hulengende and Mallotti Should Continue
Withdrawing now would send the wrong message.
Showbiz comes with both applause and criticism. Artists who endure are those who understand that both are part of the journey. Hulengende and Mallotti are currently viral. Their profile has expanded beyond Zimbabwean audiences; other countries are now watching, following, and engaging with their content. Ironically, the controversy has amplified their visibility.
Backing out would halt momentum. Moving forward demonstrates confidence.
The microphone remains on. The stage is set. The fans are ready.
Why UK Fans Should Attend
The UK winter has been long and cold. Nurses, care workers, students, and professionals have worked tirelessly through difficult months. Easter offers a moment of release — an opportunity to gather, celebrate culture, and enjoy music from home.
Attending the show is not an endorsement of every statement ever made online. It is a choice to enjoy art, reconnect with community, and unwind.
And if someone feels strongly enough not to attend, that choice is equally valid. But watching the show online later — streaming the clips, sharing the highlights — is still participation in a different form. The engagement remains.
The real question becomes: will we let online disputes dictate our real-world experiences?
The Hulengende Movement
Fans describe it as “the Hulengende movement.” It is energy. It is performance. It is chemistry. It is talent.
Exceptional talent deserves a platform. And platforms grow when artists meet their audience face to face. For Hulengende and Malotti the message is clear: stay the course. Focus on the craft. Let the music speak louder than the noise.
For UK Zimbabweans, the choice is simple: attend and celebrate, or watch virtually — but do not let social media battles rob you of a moment of joy.
Entertainment goes on. The stage lights do not dim because of trending hashtags. This Easter, the UK has an opportunity to show that while social media may shout, music still unites.
Hulengende and Malotti
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