South African activist and March & March leader Ngizwe Mchunu has publicly defended his wife, musician Floda Graé, against allegations that she was romantically involved with a Nigerian businessman based in Cape Town. The speculation erupted after an entertainment blog posted footage of Graé attending a house party where the businessman was present. Mchunu addressed the claims during a recent episode of the Bhinca Nation Podcast, hosted on MacG’s YouTube channel.
Mchunu dismissed the infidelity rumours as a coordinated attempt to undermine his anti-illegal-immigration advocacy by targeting his family. “My wife is faithful to me. She didn’t cheat. That man she was spotted with is not her boyfriend,” he said. He explained that Graé’s professional network includes Nigerian industry figures because she is signed to List Entertainment Africa, a Nigerian-owned company with international operations that has worked with artists such as Wizkid and Tiwa Savage.
The activist offered a broader context for his wife’s decision to work with a Nigerian label. He alleged that South African music companies, including Afrotainment, have created environments where women are pressured to compromise themselves to advance their careers. “For a woman to make it here, it’s like a woman has to be loose in nature,” Mchunu claimed. He argued that his wife’s employment under a Nigerian-owned company also contradicted accusations of xenophobia levelled against him. “If we are xenophobic, how can my wife work under Nigerian-owned companies based in Lagos and in London?” he asked.
When contacted for comment, Graé expressed appreciation for her husband’s defence but declined to engage with his allegations about sexual exploitation in the local music industry. “I didn’t watch the podcast, so I won’t be commenting on the sexual favours part. But I’m happy he defended me,” she said.
The episode has reignited debate about power dynamics in South Africa’s entertainment sector and the personal toll of public advocacy. Mchunu’s remarks highlight tensions between nationalist rhetoric and cross-border cultural collaboration, while Graé’s measured response underscores the complexities faced by women navigating the industry. Further reaction from the implicated companies and industry bodies is awaited.
