Abstract
Abstract Documenting the diasporic audience reception of Zimbabwean popular musician Oliver Mtukudzi, I argue that transnational identities and subjectivities are not only shaped through live performance, but are also negotiated, articulated, and produced through musical listening. Foregrounding intersections between diaspora, kinship, and moral obligation, I suggest that Mtukudzi’s songs enable audiences to symbolically reposition themselves within the social relations of a remembered home. In the process, audiences routinely interpret Mtukudzi’s songs about migration and diaspora, ostensibly directed beyond Zimbabwe’s borders, as reflecting back within the nation, conveying a powerful yet subtle critique of postcolonial domestic politics.
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