Over the past few years Nisha Ts has become a leading voice in the Zimdancehall space, and even in Zimbabwean music as a whole. At the heart of this has been the singer's unique sound, a musical alchemy that blends together dancehall with Zimbabwe's indigenous sounds. This alongside the singer's knack for catchy melodies have made her a household name.
In addition the singer's stint with Nash TV's entertainment wing not only entrenched her hitmaking status but turned her into a renowned performer. At the tail end of 2025 she released her debut album, Gender Iih (Woman King). The 12 track project was a powerful statement of defiance, laced with socially conscious storytelling and driven by distinctly Zimbabwean rhythms. It earned the singer a NAMA Award for Outstanding Album.
Now a year later the singer has followed it up with her sophomore release, Tsigamugobo. In the traditional sense the phrase "Tsiga-mugobo" refers to bearing your cross, this is carrying the weight life has cast upon you. This is echoed by the album's artwork, which sees Nisha Ts carrying musical instruments on her head. This symbolises music as the cross Nisha Ts has to bear.
As the album title indicates, the 10 tracks on this project fulfill. Tsigamugobo's socially charged storytelling is reflective of the crosses we all have to bear. It doesn't quite have the brilliance of Gender Iih musically, but similar to its predecessors it is driven by the stories we encounter in everyday life. The project sees Nisha Ts doubling down on the soundscapes that were at the centre of her debut album.
Tsigamugobo begins with "Shasha," a tale of reaffirmation in love told over a Ghost Magician produced Zimdancehall beat. It almost falls into the generic, as far as Nisha Ts catalogue goes, but this works in its favour. It offers up something familiar on the ear, while Nisha Ts and Holy Ten's delivery ensure it has replay value. This positive spotlight on love is also reflected in "Ndakazomuwana," a record centred on finally finding the one.
"Kuredza" sees Nisha Ts using fishing as a metaphor for searching for opportunities, and it is an anthem for the pursuit of success. It's tentatively sad atmosphere is offset by a vibrant and infectious beat. This same search for a way through drives the lament in "Kuzama," and the aspirational "Padare Guru," which features Jnr Spragga.
The duet "Shuramatongo" offers up Nisha's take on mbira music, alongside Sylent Nqo. Although it takes on the AIDS pandemic and the risky behaviours that make it hard to address, it is Tsigamugobo at its most beautiful. Jiti drives the rhythm behind "Reuben," which is a quirky and humorous track meant for revelry that serves its purpose. This is same nature of lyricism behind the dancehall laced "Ndanzwa Mhere," featuring Da Ruler.
Tsigamugobo's most poignant arrives with "Gender Iyi," a song that talks about gender based violence. Nisha Ts questions how a tender love became replaced by paranoia, distrust and violence. It serves as a second chapter to a song by the same name on Nisha's debut project. On that track she spoke on the accepted glender roles in Zimbabwean culture that hold women back, and Tsigamugobo's "Gender Iyi" continues what Gender Iih's "Gender Iyi" began.
In Nisha Ts' sophomore project there is so much that is hearfelt with a sonic compass that remains true to the singer's unique sound, but were Gender Iih was rich Tsigamugobo doesn't have the same lustre. It is still a decent offering but shadowed by a debut it follows in more ways than just sequence.
Greedysouth rating: 6.9/10