Tiwonge Hango recently wrote an open letter to authorities expressing his concerns about the use of artificial intelligence (AI) in music which at times helps youngsters produce explicit material. In this exclusive interview, our Arts Editor EDITH GONDWE caught up with Hango for this and more: Excerpts: Q: The music scene has seen quite a transformation in recent years with the coming in of new artists and new technologies. What are your observations of progress made so far in Malawi?
A: There has been a significant transition in Malawian music, moving from limited studio access to a vibrant, digitally driven industry. Today, many emerging artists own and use home-based technology to create market and distribute their music independently. As an artist who began singing at a young age in the 1990s, I have witnessed this evolution first hand. Music production has shifted from analogue to digital—from pioneers like Paul Banda, who recorded numerous artists using analogue equipment, to modern digital producers such as Tricky Beats, who worked with the late Martse and Kell Kay to deliver improved, high-quality productions.
Music distribution has also transformed dramatically. In the past, artists relied heavily on physical distribution and intermediaries such as OG Issa, often leading to exploitation. Today, digital distribution and social media platforms provide direct and immediate access to audiences. Platforms such as Spotify, Apple Music and TikTok now allow artists to share their music widely and generate better income through streaming and downloads.
Additionally, there has been notable genre expansion with the rise of Afrobeats, hip-hop and amapiano. This has enabled Malawian artists to export their music to neighbouring countries, with hopes of reaching as far as Europe if artists remain focused. In recent years, Malawian musicians have performed in the UK, the United States and Ireland, serving as clear evidence of this positive and promising transformation.
Q: Of late we have seen a surge in the use of AI in music. You have raised some concerns about that in the context of local music and the youth. What are your concerns with what’s happening?
A: My concern has been directed to the Censorship Board of Malawi, Copyright Society of Malawi (Cosoma) and the Music Union of Malawi regarding the growing trend of explicit AI-generated songs (nyimbo zotukwana) created by Malawians and currently circulating on social media platforms. As a Malawian citizen, I am deeply concerned about the impact such content may have on young people—especially children—if urgent measures are not put in place. In today’s digital age, it is increasingly difficult for parents and guardians to monitor every social media platform their children access.
There is a collective responsibility to protect children from premature exposure to adult content and experiences that may be harmful to their moral, cultural and psychological development. The pursuit of online trends, attention and likes—particularly among some members of Generation Z—has, in certain cases, led to a disregard for moral boundaries and societal values. This raises serious questions about the direction in which our society is heading.
It appears that some youths are either unaware of, or deliberately ignoring, the existence and role of the Censorship Board of Malawi. Without proper regulation and enforcement, we risk creating an environment where anything goes. One can only imagine the level of disorder that would exist in a country without institutions such as the Malawi Police Service or regulatory authorities.
Q: How best can this issue be handled, especially bearing in mind that these acts are done by individuals in the privacy of their homes or gadgets?
A: It is both difficult and increasingly challenging to identify individuals who create and distribute explicit AI-generated music. For this reason, I have appealed to the Censorship Board of Malawi, Malawi Communication Regulatory Authority (Macra), Cosoma and the Music Union of Malawi to collaborate in identifying effective strategies to minimise the abuse of AI music applications. Such collaboration could also lead to the issuance of formal warnings or sanctions to ensure that young people understand there are consequences for continued misuse.
Additionally, I believe it would be beneficial to involve the police, as they may provide guidance on the use of digital forensic investigation methods currently employed in combating cybercrime. Their expertise could play a critical role in tracing offenders and strengthening enforcement mechanisms.
Q: What are some of the long-term implications of what is happening?
A: The wide spread of explicit AI songs will affect children and young people. Children are particularly vulnerable to the effects of explicit AI-generated music. Early exposure to explicit content can negatively influence cognitive and emotional development, shaping unhealthy attitudes toward sexuality, relationships, gender roles and violence. Because children often encounter music through social media platforms with limited content filtering, explicit AI songs may reach them unintentionally and repeatedly, increasing the risk of desensitisation and imitation.
From a societal perspective, explicit AI songs risk normalising sexually explicit, violent, or offensive language. When such content becomes widespread, it can gradually lower moral and cultural standards, especially within communities where music plays a strong role in socialisation and identity formation. Additionally, the anonymity provided by AI tools complicates accountability, potentially encouraging irresponsible behaviour and weakening respect for intellectual property, artistic integrity, and social norms.
Q: At the end of our chat, do you have anything to add?
A: I would like to thank the president of Music Union of Malawi Vita Chirwa for helping me to address Ms Anganire Nthakomwa of Malawi Censorship Board who have promised that this matter will be handled.
