I caught up with Gemma Griffiths as she was somewhere on the edge of upstate New York, preparing to cross into Canada for a show. “I’m right on the border,” she laughed, her voice as warm as the morning sun that had just started to rise on her side of the world. Even with a hectic tour schedule and a transatlantic body clock, she was, unmistakably, still the girl from Harare, cheeky, passionate, and grounded.
Over the past decade, Gemma has become a cultural compass, an ambassador for Zimbabwean music on the global stage. Her name has become synonymous with genre-bending collaborations and genre-defining moments. From her stunning co-sign by the legendary Winky D on their smash hit “Mugarden”, arguably the biggest Zimbabwean track of its year, to performing alongside the late, great Oliver “Tuku” Mtukudzi, Gemma’s trajectory has been anything but ordinary. In fact, it’s been borderless.
Born into a musical family, her grandmother a classically trained pianist, her grandfather a clarinetist, Gemma’s childhood in Zimbabwe was surrounded by melody and magic. “I started writing poetry and turning it into songs in junior school,” she said. “My parents encouraged all of it. I was lucky.”
That luck transformed into hustle when she earned a trumpet scholarship to study commercial music and film scoring in Utah, USA. It was there that the seeds of a global career were sown. Post-university, she landed in Cape Town, performing in bars five nights a week, living out of bags, sleeping on couches, the kind of gritty, soul-sculpting phase that etches itself into every artist’s DNA.
But her most defining adventure began in 2019: a two-year, 24,000-kilometer road trip across Africa. “I had a mini studio in the car,” she said. “I was recording, collecting sounds, and writing what would become Pamwe and A Girl From Harare. That phrase—the girl from Harare—really stuck. No matter where I was, when people asked where I was from, I always led with that. Harare is my heartbeat.”
“I was recording, collecting sounds, and writing what would become Pamwe and A Girl From Harare. That phrase—the girl from Harare—really stuck. No matter where I was, when people asked where I was from, I always led with that. Harare is my heartbeat.”
Always sharing her love for the local music scene and paying homage to artists that came before her, Gemma recounts her Winky D moment like a scene out of a film. After performing a haunting ballad rendition of “Musarova Bigman” on a grand piano at the Zimbabwe Achievers Awards in London, she returned home to find the video had gone viral. Four years later, her phone rang. It was Winky D.
“He invited me to sit in his car, played the beat for Mugarden, and we recorded it over two nights,” she said. “He taught me the value of patience and precision in music. That song changed everything. It opened doors to the Zim Dancehall scene and changed the trajectory of my career.” Speaking about Gemma’s A Girl From Harare documentary, Winky D recalled performing with her in front of an electric crowd, describing her vocals as “angelic.”
Oliver Mtukudzi’s influence looms large too. “Tuku was a mentor. He always took time to speak to us young musicians,” she said. “He was a father of our sound.”
Even as her music crisscrosses the continent, featuring artists like Chimano, Lioness and Barack The Prince, she too has been called upon to lend her vocals on tracks by Prince Kaybee, Charlie Kay and Casspar Nyovest. With it’s through her lyrics or visuals, Gemma always circles back to Harare. “It’s my favorite place on earth,” she beamed. “It’s where I found my sound. Where I first learned to play. Where I met legends in bars downtown. It’s a place that nurtures collaboration, that feeds creativity.”
From the street corners to studios like Chill Spot, and food spots in Chizzy, every lyric is steeped in local flavor. And now, with her long-awaited self-titled debut album Gemma dropping May 23rd, she’s finally telling her full story.
“This album is ten years in the making,” she said. “It’s a love letter to Harare, to the city hustle, to heartbreak, faith, joy, and every beat that has shaped me.” Executive produced by Manuchie and featuring voices like Feli Nandi, Nutty O, and Peruzzi, the album is both sonic memoir and cultural document. “I wanted the visuals to feel like home too, everything was shot in Zim.”
Tracks like “Ndarema” (an anthem of affirmation), “Gold” (a tribute to her city), and “Alone” (a travelogue of memories from Chizi to Dubai) take listeners on a chronological journey of growth, vulnerability, and celebration. And tucked within it all is a cameo from Naise, a young Vic Falls talent Gemma discovered at an open mic night. “I just knew,” she said. “He needed to be on the intro.”
To celebrate Gemma being named one of the 2025 Rolling Stone Africa Future of Music cover stars, I asked her a few questions to mark this milestone and reflect on her incredible journey:
“This album is ten years in the making,” she said. “It’s a love letter to Harare, to the city hustle, to heartbreak, faith, joy, and every beat that has shaped me.”
Rolling Stone: You’ve been selected as part of Rolling Stone Africa’s “Future of Music.” What does it mean to you to be recognized as an artist who represents the future of music?
Gemma Griffiths: I’m bowled over by the honour… of being recognized by Rolling Stone Africa in this way! Music has always been so much more than sound. For me, it has broken down barriers. It has inspired, it has evoked memories’, and it has even healed. So, for my work to be considered forward looking is both affirming and energising. It reminds me that there’s still so much more to create and share.
Rolling Stone: How do you see the evolution of Afro-Pop music in recent years? What excites or challenges you about these changes, and how do you imagine the future of Afro-Pop music? Are there any artists or trends you think we should keep an eye on?
Gemma Griffiths: It’s been colossal and exciting to witness. I’m a fan of African music and constantly inspired by artists pushing boundaries and putting African music on the global stage. This has led to so much opening on the continent. The arrival of platforms like Spotify and Apple for example, as well as more interest in global brands to look inside the huge vault of AFRICA.
What excites me most is the fearlessness. Artists are blending genres, bending expectations, and creating new lanes. Amapiano, Afrobeats, soul, R&B, electronic — these genres are being fused together in vibrant and unexpected ways. It feels like the continent is having one massive jam session, and the world is finally tuned in.
Looking ahead, I think the future of the music is borderless. It will be a melting pot of collaboration, Zimbabwe to Nigeria, Ghana to South Africa, and way beyond. It’s been happening, but that’s the future. Also, the girls are coming! From Zim, keep an eye out for the likes of Young Gemini, Oliander, Nisha T, Atenda Chinx and Kyla Blac.
Rolling Stone: If you could imagine a truly futuristic or unexpected collaboration or simply one you’d be proud to share with your community, which African or international artist would you choose, and why?
Gemma Griffiths: I’d love to collaborate with one of Zimbabwe’s greats Thomas Mapfumo. His music helped shape the soundscape of Zimbabwe, and musically, I’d be honoured to work with him. There’s so much power in merging tradition with modernity and to be part of that bridge would be something I’d carry with pride.
Rolling Stone: Throughout your career, you’ve been involved in many Pan-African collaborations with artists from Nigeria, Kenya, Tanzania, South Africa, and more. What are your thoughts on the current state of the Zimbabwean music scene, and how can it push more artists to the global spotlight?
Gemma Griffiths: The Zimbabwean music scene is full to the brim with incredible talent. We have artists like Winky D, one of my all-time faves who played such a significant role in my own career and Jah Prayzah continues to inspire and lead the way forward. Platforms like Zimlinkup and Zimfest in the UK are crucial; they give artists a stage to connect with diaspora audiences and build visibility. To be honest, the touring circuit really helps with that global reach. And as the digital space opens up even more into Zimbabwe, I believe we’ll see a new wave of discovery and growth for Zim artists.
Rolling Stone: Self-titled albums often feel deeply personal. With your highly anticipated debut, Gemma, on the horizon, what kind of impact are you hoping this project will have?
Gemma Griffiths: This album is a milestone, it marks my 10 years in the industry, and it’s truly the story of me. A girl from Harare, hustling in the city, trying to make my art and find my voice. I’ve made so much music over the years, songs, EPs, projects – but finally, my album GEMMA is a love letter to Zimbabwe. I hope people glimpse into the highs and the lows of my journey so far, and get a feel for why the city I call home is so incredible. I hope ultimately people walk away seeing why my city is gold.
If Gemma’s music connects, her podcast HelloHi deepens the conversation. Featuring musicians like Jah Prayzah, Nutty O and Young Gemini, the show is a masterclass in creative process and emotional honesty. “It’s not just about career highs,” she said. “It’s about struggle, habits, the moments behind the scenes that shape who we are.”
So what would she say if the whole world were listening?
“Come and visit Zimbabwe,” she grinned. “Meet the people, eat the food, see the art. Fall in love with this place, it’s worth the hype.”
And as long as Gemma’s got a mic, a melody, and a message, Zimbabwe’s voice will never go unheard.
Gemma Griffith’s self titled album is available now on all streaming platfroms. Tap the link below to listen to it now.
