Zimbabwean producer Nitefreak has spent the past decade shaping his own lane within Afro House, and that same independence now defines Afroholic Records, the label he co-founded with Terrie. The imprint recently passed 10 million streams, a milestone that reflects both its rapid growth and the clarity of vision behind it.
Nitefreak talks about the decision to move from releasing on established labels to running his own, the operational realities of publishing, distribution and artist development, and how growing up in Bulawayo shaped a sound that owes little to any single scene. He also discusses life on the road, his approach to writing between studio sessions and hotel rooms, and where he sees Afroholic heading by the end of 2026.
Afroholic Records has recently reached the 10 million streams milestone, congratulations! Could you tell us what made you decide to start a label, and whether there was a specific moment or event that influenced that decision, or if it was simply a natural progression of your career?
Thank you. Reaching 10 million streams is a major milestone for us, especially considering how young the label still is. Starting Afroholic Records was a natural progression, but it also came from wanting greater control over the music, the message and the artists we believe in. Throughout my career, I have been fortunate to release music through some respected labels, but there comes a point where you want to build something that represents your own vision completely.
Terrie and I wanted to create a platform where nobody could tell us that a record was not good enough simply because it did not follow a current trend or fit a particular formula. Afroholic gives us the freedom to control our narrative, release music we genuinely believe in and create opportunities for talented artists who may otherwise be overlooked.
The label was never intended to be built around me alone. The bigger goal was always to develop artists, connect cultures and create a home for raw, authentic Afro House.
You co-founded Afroholic Records with a very clear vision for what it should stand for. What does success look like for the label by the end of 2026, is it numbers, community or something else entirely?
The numbers are important because they show that the music is connecting, but success for Afroholic is much bigger than streaming figures. By the end of 2026, I want us to have established a strong and recognisable catalogue and created opportunities that extend beyond simply releasing music. That means collaborations, touring opportunities, publishing, sync placements and building long-term careers.
Success would also mean that when people see the Afroholic name, they immediately associate it with quality, authenticity and forward-thinking Afro House. I want the label to become a bridge between African talent and the global electronic music industry. The community around the label matters just as much as the statistics. Ten million streams is something to celebrate, but creating an ecosystem that allows growth and remain in control of their careers is the real achievement.
What have been the biggest challenges or lessons learned in running your own imprint?
The biggest lesson has been understanding that running a record label is completely different from simply making and releasing music. There are so many moving parts: contracts, publishing, royalty accounting, distribution, sync, marketing, release schedules and artist development. Publishing and sync in particular opened up an entirely new side of the business for us. Every day brings something new to learn.
Another important lesson is that having a good record is only the beginning. You need the right team, a proper strategy and enough patience to keep pushing the music after release day. Not every result is immediate. Running the label has also taught me the importance of communication and setting clear expectations with artists. Passion is essential, but structure is what allows the passion to become a sustainable business.
Zimbabwe isn’t the first place people think of when they talk about Afro-House. How did growing up there shape your perspective on the music, and did it ever feel like a disadvantage or an advantage?
Growing up in Bulawayo shaped everything about the way I hear and create music. Zimbabwe has an incredibly rich musical culture, even though our contribution to electronic music has not always received the same international attention as some neighbouring countries. In the beginning, being based in Zimbabwe could feel like a disadvantage. There was limited access to equipment, industry connections, major electronic music platforms and the type of infrastructure available in Europe or South Africa. You had to work much harder to make your music travel.
At the same time, that isolation became an advantage. I was able to develop without being completely surrounded by industry trends. It pushed me to experiment and create my own interpretation of Afro House instead of copying what was already working elsewhere. Zimbabwe gives me a different rhythmic and emotional perspective. I carry that identity everywhere I perform. Rather than seeing where I come from as a limitation, I now see it as one of the most important parts of what makes my music recognisable.
How healthy is the electronic music scene in Zimbabwe right now, and what does it need more of? Infrastructure, platforms, community, all of the above?
There is a lot of talent in Zimbabwe, and the electronic music community is continuing to grow. The problem has never been a lack of creativity. The biggest challenge is building enough infrastructure around that creativity. We need more professional venues, festivals, promoters, management teams, media platforms, booking opportunities and access to music-business education. Artists also need better access to distribution, publishing administration and international networks.
We have started seeing progress through events and platforms such as HiNDE, which began in Zimbabwe and has since travelled internationally. The purpose is not only to put on events, but to show that concepts created in Zimbabwe can grow beyond our borders. The scene also needs more collaboration and consistency. We cannot depend on one artist, promoter or event to carry everything. A healthy scene needs artists, DJs, venues, media, brands and audiences all supporting one another.
Who were the artists or records that completely rewired your brain when you were first developing your ear? Who would you call your biggest inspiration?
When I was first developing my sound, I listened to artists such as Bob Sinclar, Gregor Salto, M’Java, Afrojack and DJ Chuckie. They all approached rhythm and electronic music differently, and hearing their records made me curious about what was possible through production. I came from a musical family, but being introduced to FL Studio by a friend around 2010 completely changed my direction. Once I understood that I could build an entire musical world from a computer, I became obsessed with learning.
Over time, my inspirations expanded. Black Coffee has been a major inspiration, not only musically but in terms of how an African artist can build a global career while remaining connected to the continent. Francis Mercier has also played an important role as a collaborator and mentor throughout my international journey. I take inspiration from many places now, including African vocalists, traditional music, film, travel and the different crowds I perform for around the world.
Tell us more about your creative process, do you have a studio setup or work on the road? Are you a solo producer or do you prefer to collaborate with others?
I have a studio setup in Zimbabwe, which is where I am most comfortable completing records, but touring means I have also learned how to work wherever I am. Ideas can begin on a flight, in a hotel room, after a performance or while listening to music from a completely different culture. I enjoy working alone because it gives me space to experiment without limits, but collaboration has become a major part of my process. Working with artists from different countries introduces new languages, instruments, melodies and ways of thinking.
The best collaborations do not feel forced. Each artist brings something that the other person could not have created alone. That exchange of culture and ideas is also a major part of Afroholic’s identity.
Some artists are energized by touring and others find it draining. Which side of that line do you fall on, and how do you protect your creative output while on the road?
Touring gives me energy. Experiencing different countries and seeing how people respond to the music reminds me why I started doing this. Playing a record in front of a crowd can also tell you things that you would never learn while sitting in the studio. You immediately understand which elements connect, where the energy changes and what needs to be adjusted.
However, touring can become physically and mentally demanding. Flights, time-zone changes and constantly moving between hotels can make it difficult to maintain a normal creative routine. I protect my output by capturing ideas whenever they come rather than forcing myself to finish complete records on the road. I might record a voice note, build a drum loop or write down a concept, then return to it properly when I am back in the studio. Rest is important too. Sometimes protecting creativity means knowing when not to work.
For a young producer or DJ right now trying to find their footing, what’s the one piece of advice you wish someone had given you early on that would have saved you years of figuring it out the hard way?
Stop trying to sound like everybody else.
It is good to study successful artists, but there is a difference between learning from someone and copying them. Trends move quickly. By the time you successfully recreate what is popular today, the industry may already have moved on.