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In recent years, a number of privileged individuals have entered the music industry in Zimbabwe, either as performers or entrepreneurs. The economic challenges in the country may have prompted these individuals to invest in music as a means of diversifying their income or exploring new business opportunities. To determine whether their interest in music is driven by entrepreneurship or genuine passion, a scholarly examination was deemed necessary.

A qualitative research approach with semi-structured interviews was used as the data collection technique. Narrative analysis was conducted on a sample of musicology students in Gweru, Zimbabwe.

The findings revealed the nepo babies’ interest in music is driven by legacy continuation – the responsibility to carry on with the name of the parent – harsh economic conditions, capitalizing on Internet and digital opportunities and mechanisms for psychological satisfaction during hardships.

Although there is a wide range of literature on musicpreneurship, there are gaps in studies that have examined whether a nepo baby's interest in music is motivated by musicpreneurship or a genuine passion for it. Therefore, the aim of this research is to contribute to the existing body of literature on African musicpreneurship, with a specific focus on Zimbabwe.

The purpose of this paper is to examine the struggle of and explore opportunity structure for a special class of social entrepreneurs, known as musicpreneurs, in the context of a war-ridden conflict region of Pakistan. A unique case of Pashtun musicians is undertaken, who are confronted with multiple challenges and barriers while commercializing their musical skills. It provides a holistic account of a journey towards self-sustenance from the perspective of real-life musicpreneurs living in harsh socio-economic conditions.

This research is guided by constructionism and interpretive methodology, where semi-structured in-depth interviews were conducted from 28 entrepreneurs in Peshawar, capital city of the Khyber Pakhtunkwa Province and its surroundings. Qualitative thematic analysis was used to analyze transcribed data.

This research categorizes all findings into seven unified themes. A common Pashtun shows profound love for music, yet surprisingly, does not extend the same intensity of love to musicians. Till recently, Pashtun musicpreneurs are confronted by multiple challenges and barriers such as copyright violations, socio-cultural resistance and discrimination. However, they have devised new opportunity structures to commercialize their skills and adopt music as a sustainable career.

This research explored multiple aspects of Pashtun musicpreneurs’ lives, compromising minute details on some aspects, for example, limited opportunity structure for musicpreneurs. It bears implications not only for Pakistan but other similar hostile environments for musicpreneurship. For lasting sustainability, overall tranquility and for the promotion of musicpreneurship, challenges surrounding musicpreneurs need to be addressed.

It is the first study of its kind to explore the struggle of musicpreneurs in hostile socio-economic conditions. From theoretical standpoint, a new theory of musicpreneurship is substantiated by paving ways to resolve barriers experienced in the most unfavourable conditions.