Harare, Zimbabwe | If Doek and Slay had set its sights on a Guinness World Record for one of the largest women-only concerts, few would dispute its credentials. Glamis Arena was pushed to full capacity as an estimated 30 000 women converged for the final Doek and Slay show of 2025, a powerful closing chapter hosted by DJ Butterfly and Lexxy.
From the early morning hours, it was clear this was more than a music event. The energy in the air pointed to a cultural phenomenon — a gathering rooted in celebration, healing, freedom and collective joy.
Fashion, Identity and Economic Power
Adhering to the signature dress code, Glamis transformed into a moving canvas of earthy sophistication. Browns, khakis and off-whites flowed effortlessly through the crowd, accented by neatly wrapped doeks and oversized sunglasses. The visual unity was striking, but its impact ran deeper than aesthetics.
In the days leading up to the event, local boutiques, designers and fabric traders benefited significantly, reaffirming Doek and Slay’s role as a driver of women-led economic activity. The event once again demonstrated that fashion can be both expressive and empowering.
A Safe Space That Speaks Volumes
Despite lingering criticism from some quarters — including those who question the relevance of women-only events — the women in attendance offered a clear counter-narrative. For them, Doek and Slay is a rare sanctuary.
“I salute my dear husband for allowing me to attend this peaceful event,” said Lucy Chikumi, who travelled from Rusape with friends. “There is no fighting, no fear of pickpockets, and we also network, make new friends and enjoy performances by our local stars.”
Another attendee shared a similar sentiment, describing the day as a necessary reset. “Between being a wife, mother and aunt, life gets overwhelming. I look forward to this one day where I can simply be myself. Those few hours do wonders for the mind.”
Smooth Organisation, Big Results
Relocating the show to a larger venue proved to be a masterstroke. Despite the massive turnout, movement at entry points was orderly, security was visible but unobtrusive, and overall logistics reflected careful planning. The professionalism on display allowed attendees to relax and fully immerse themselves in the experience.
Music That Moved the Masses
The entertainment delivered matched the scale of the occasion. Nisha Ts, the only female musician on the lineup, made a bold statement with a commanding performance that earned roaring approval. Intotal Band took the audience on a nostalgic journey, while Jah Signal ignited the arena with high-energy hits, sing-alongs and infectious dance routines.
When Baba Harare took to the stage, the atmosphere shifted into overdrive. The crowd danced relentlessly, undeterred even by tired legs. A brief afternoon shower around 3pm only heightened the magic, with women dancing freely in the rain as if on cue.
Jah Prayzah followed with a polished, hit-filled set that kept the audience fully engaged, his band operating with clockwork precision. As the sun dipped, time seemed to stand still.
Closing the show was Alick Macheso, who performed with dignity and depth while still mourning his mentor, Madzibaba Nicholas Zacharia. His presence was commanding, his delivery effortless — a reminder that experience and relevance can coexist gracefully.
A Movement That Keeps Growing
Produced by the NAMA award-winning Event Hulks, Doek and Slay continues to redefine live entertainment in Zimbabwe. Each edition grows in scale and significance, drawing women of all generations into a shared space of joy and belonging.
As the final notes of 2025 faded into the night, one thing was certain: Doek and Slay is no longer just an event. It is a movement — and its impact will be felt long after the music stops.
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