Winky D’s Propaganda: A Song, A Lecture, A Movem...

Winky D’s Propaganda: A Song, A Lecture, A Movement

Witness Runodada and Rutendo Mazhindu- Zim Now

Zimbabwean reggae-dancehall giant Winky D has once again shaken the music industry to its core with his latest single, Propaganda—a hard-hitting, socially charged track that is quickly becoming a continental sensation.

The song premiered on YouTube to an overwhelming reception, racking up over 18 000 views in just 50 minutes.

Produced by South Sudanese award-winning artist and producer Dynamiq, Propaganda is not just another hit to light up the dancefloor. It is a bold and nuanced critique of misinformation, media manipulation, and political deception.

With the lyric, “Armed with a weapon but with the most powerful tool of all… truth. No African Propaganda. No American Propaganda,” Winky D offers a rallying cry against distortion and spin, prompting listeners to think beyond the beat.

The accompanying visuals—fast-paced, glitchy, and intense—mirror the chaos of manipulated information, creating an audiovisual experience that challenges audiences to re-examine what they consume from their TVs, radios, and newspapers.

Social media erupted following the release, with fans and critics alike weighing in. “Every time he drops a song, it's not just music—it’s a movement,” tweeted one listener. Many are already unpacking the lyrics for deeper political, cultural, and societal messages.

Fan reactions have gone beyond the usual excitement. Some have described the experience of listening to Propaganda as transformative. “When I listen to Winky D, I’m not just vibing to music—I’m attending a lecture,” said Faith Ncube. “His songs aren’t crafted for the club or the dancefloor; they’re classrooms. Propaganda, for instance, doesn’t just slap sonically—it interrogates. It exposes how we’ve been fed lies, how truth has become a casualty in the theatre of politics.”

Eveline Moyo added, “So when I listen, I don’t dance. I reflect. I question. I grow. This is mass conscientization. This is scholarship—raw, rhythmic, and rooted in our reality.”

Despite previous criticism from fellow artist Seh Calaz and questions over the direction of his music after the release of his EP Pabhoo, Winky D has silenced detractors with Propaganda. Honest Elias Koke voiced what many fans are feeling: “This one is going to be a hit reggae song. I bet my last dollar our own Winky is on his way up the ladder to become the Lucky Dube version of reggae in Zimbabwe. Very soon, he will be dubbed the African King of Reggae like Lucky.”

Tinashe Mesa went even further: “No longer just the Zimbabwean alone but the African GOAT, the voice of the voiceless,” highlighting Winky D’s growing reach and recognition beyond Zimbabwean borders.

In Propaganda, Winky D has once again proven that his music is more than sound—it's substance. He continues to blur the lines between art and activism, positioning himself not just as an artist, but as a movement.

With numbers climbing and discourse intensifying, Propaganda isn’t just one of the biggest musical drops of the year—it’s a turning point in how Zimbabwean and African music can challenge power, awaken minds, and inspire action.