(Repost – 18 May 2024)

Why do couples often opt for both a traditional African wedding and a white wedding? Is there a deeper reason behind this duality, or is it merely a cultural trend? This puzzling phenomenon prompts many to question: Why do we feel the need for two ceremonies when one could suffice? In his exploration, Julius Kyazze sheds light on the underlying motivations driving this choice.

“African weddings are holistic, capturing everything essential in a union: spirituality, community, and family. They involve the entire community and deeply honour both families, making the marriage a shared experience rather than just a personal milestone. In contrast, white weddings often emphasise the visual and individual aspects of marriage, focusing on the couple’s journey rather than the broader familial and communal connections.

Given the comprehensive nature of African weddings, why do we feel the need to have both an African wedding and a white wedding? This dual approach seems redundant and wasteful. African weddings encompass all the necessary elements of a meaningful marriage ceremony. They are not just about the couple; they celebrate the union of families and the support of the entire community, ensuring that marriage is a shared, lifelong partnership.

Marriage was never meant to be a solitary endeavour between two individuals. It is a communal effort, supported by families and the wider community. This is why, even today, we seek financial and emotional support from our families during weddings. However, by adhering to both African and white wedding traditions, we are unnecessarily duplicating the process, which wastes time and money.

Instead, a church wedding or a civil marriage could fulfil legal or religious obligations, but these should be validated by an African wedding. The African wedding captures the true essence of marriage, emphasising community and collective strength. It is a celebration of love, unity, and a support system that sustains a lifelong commitment.

In conclusion, we do not need both weddings. African weddings alone provide a rich, holistic celebration that honours tradition, community, and family. Opting for both is not only redundant but also a waste of resources. The African wedding stands on its own as the ultimate expression of a meaningful and enduring union.”

By Julius Kyazze, African Creative Entrepreneur

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It’s July 2025, a big applause to Ugandan music artists whose early-year tracks have crossed over into the second half of the year and are still topping charts. That’s no small feat!

In an industry where any newbie can record a sound and, with TikTok or a single radio spin, shake up the airwaves for months, maintaining consistent hits as an established artist demands more than just talent or luck, at some point, it calls for reinvention or a full artist rebrand.

Take Weasel Manizo, for instance, he carved out a name with solo music hits like Nakujali in the early 2000s, but ended up being celebrated mainly as the other half of the Radio and Weasel duo, thanks to their 2008 debut, Nakudata featuring Omulangira Suuna. Or Bebe Cool, who transitioned from a celebrated reggae artist to any genre and now, after his 2025 Break The Chains album, Bebe Cool humorously carries the tag of Ugandan-Nigerian artist. Okay, maybe these aren’t the best examples, but hey, what about Kapeke?

Remember that COVID-season Okakasa Olubuto hit? That same Kapeke rebranded from the 2020 Destiny Boy to today’s Kapeke Yuh Nuh Say with Ekimalufa, which kicked off with the 2024 Swiriri release featuring Rickman Manrick. Or Elijah Kitaka, once the bald, live band guy before the 2019 Son of Kaloli album, who is now the Swangz Avenue star whose eccentric fashion makes him look like a stylish vagabond covered in rings and pins. These two didn’t just evolve musically; they rebranded their entire personas. And guess what? It worked, and they’re topping charts. Including this one.

Cut the jazz… here are the top 10 songs in Uganda now, as of July 2025, by Nymy Net, based on what’s popular on radio, TikTok, Ku Ground, YouTube and Apple Music.

#1. Good Idea by Dax Vibez and Elijah Kitaka
Produced by Nessim Pan Production
Written by Bugembe Ssentamu Ivan and Nsubuga Elijah.

#2. Wrong Places by Joshua Baraka
Produced by British-Ghanaian record producer JAE5.
Written by Joshua Baraka and JAE5 (Jonathan Kweku Awote-Mensah).

#3. Biggwa by Liam Voice feat. Fik Fameica
Produced by Artin and Grey Town
Written by Zisabusolo Willy (Liam Voice) and Fic Fameica.

#4. Ogenda Kukilaba by Tracy Melon
Produced by Brex Pro, Guitar by Myko Ouma
Written by Kenimars Music.

#5. Kaba by Kapeke
Produced by Trapex Boomin
Written by Kapeke (Derrick Nsubuga).

#6. Cheque by Bebe Cool feat. Joshua Baraka
Produced by Chukwuka Ahaiwe (NG) and Kagoda George Bush [Bushington (UG)]
Written by Ekpe Promise (NG), Bushington (UG), and Bebe Cool.

#7. The One by Ykee Benda
Written by Tugume Wycliff (Ykee Benda)
Produced by Dny Beats at Mpaka Records.

#8. Red Tomato by David Lutalo
Produced by Pamola, Mastered by Herbert Skillz
Written by David Lutalo.

#9. Angonza by Vyroota
Produced & Written by Musigazi Abdulaziz (Vyroota).

#10. Control It by Winnie Nwagi
Produced by Bangar Boi
Written by Winnie Nakanwagi and Ssekajja Marrick.

Bonus Tracks

#11. Kankutendereze (Remix) by King Saha
A cover version of Mesach Semakula’s 2006 Kankutendereze (Credited as writer and producer).

#12. Yongeza by Juliana Kanyomozi
Produced by Crouch
Written by Jualiana Kanyomozi.

#13. Bilalamu by Fic Fameica
Produced by Bad Boy Beats
Written by Shafique Walukagga.

#14. Njoya by Hezo Music
Produced by Felon Beats.

#15. Onyonona by Liam Voice
Produced by Artin and Grey Town
Written by Zisabusolo Willy (Liam Voice).

#16. Go by Karole Kasita feat. Elijah Kitaka
Produced by Daddy Andre
Written by Karole Kasita and Elijah Kitaka.

Some comments on your current favourite Ugandan song. And on a good day, you can actually join our WhatsApp channel for more!

In these articles, we’re also showing some love to random Ugandan rising artists. Here’s one for the books, Unscripted EP by Jenesis Kimera.

During our on-ground research into the top 10 songs hitting in Uganda, we uncovered an intriguing trend: emerging music artists, previously unknown to the author, are topping the Ugandan music charts. This observation highlighted the need to fully understand the dynamics behind hit songs in Uganda. Here’s what we’ve…

One notable pattern is the rise of one-hit wonders, whose breakout tracks often even cross borders. Examples include Party After Party by Big Trill, Tumbiza Sound by Eezy, Kachumbali by Quex Music, Wipolo by Pastor George Okudi, and Embooko by Master Blaster. Despite releasing music before and after these hits, these artists rarely replicate their initial success.

Disclaimer: While this is a case study, there are other artists in Uganda, like Jose Chameleone, David Lutalo, Eddy Kenzo, and Bobi Wine, whose careers, spanning over a decade, are defined by numerous and even bigger hits.

The second category includes artists whose subsequently released songs enjoy short-lived success, typically fading within 2-3 years. Even with improvements in their craft and consistent new music releases, these artists struggle to recapture the spotlight they once held. No mentions, lol.

The third category are artists who only get attention under specific individuals or entities, often referred to as “music gatekeepers” (whatever that term implies). When these artists part ways with their mentors, often producers or management, their ability to produce hits often diminishes, despite efforts to refine their style. A renowned name in this context is Jeff Kiwa, whose management has consistently propelled artists to success, only for them to gradually drop off the radar once they leave his camp.

Artists whose careers Jeff Kiwa has helped shape include Radio & Weasel, Sheebah Karungi, Grenade Official, and, most recently, Ava Peace, who is dominating the charts since signing with his TNS management.

Anywho, here are the top 10 songs in Uganda now, as of May 2025 by Nymy Net

#1. Wanula Remix Rmx by Ava Peace and Temperature Touch
Produced at Sound Fall Studio by Temperature Touch & CK on Da Beat

#2. TikTok Life by King Saha
Produced at Bless Touch Records Inc. Studio by Bass Boi

#3 Nkulowozaako by Eddy Kenzo
Written by Allan Kasujja

#3. GO by Karole Kasita
Produced by Andre on The Beat

#4. Ekyange by Elijah Kitaka
Produced by Banga Boi at Swangz Avenue.
Written by Elijah Nsubuga (Elijah Kitaka), Fred Buwule Kanyike and Ssekajja Marrick (Banga Boi).

#5. Kaba by Kapeke
Produced by Trapex Boomi

#6. Not Your Enemy by Bobi Wine, Nubian Li & King Saha
Produced by Paddyman at Audio1 Records studio

#7. Nyam Nyam by Fik Fameica & Vinka
Produced by Trapex Boomi & Artin

#8. Wrong Places by Joshua Baraka
Produced by Johnathon Mensah.
Written by Joshua Baraka.

#9. Oli Mwesigwa by Ntaate
Produced by Josh Wonder

#10. Buguda by Recho Rey & VIP Jemo
Produced by Sekret

Bonus Tracks
#11. Kindekere by Lydia Jazmine
#11. Ebigambo by Bruno K & Kabuye Ssemboga
#12. My Life by John Blaq & Mozelo Kidz
#14. Ensi Yaffe by King Saha
#15. Tovawo by Chris Evans

This chart covers music tracks and videos not older than 2 months; however, chart-topping music videos released later, such as Ekyange by Elijah Kitaka, are an exception. Tracks such as Che Che, Lukusuuta, Tabu, Dawa, Kinawolovu, Eden, and Sirubala are not included in this playlist despite remaining fan favourites. Read – Top 10 Songs in Uganda Now Ugandan Hits March 2025.

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Scrolling through TikTok and YouTube, there’s always that one song everyone is using in their short videos or that keeps getting recommended to you. When you’re out shopping or running errands, walking through the streets of Kampala, you’ll hear certain songs played repeatedly—often by phone and accessories vendors mixing them into their adverts. These are the hit songs of the moment, the top Ugandan tracks (that’s if it’s not a Nigerian song, lol)

At the height of their popularity, these hits—usually secular songs—are known by nearly everyone. Even the least expected people. Imagine your Sunday preacher suddenly dropping Ontambulira nga Kinawolovu in the middle of a sermon. Yes, these songs are played everywhere, and you don’t need to pay attention or listen to the full track to know the lyrics—you’ll randomly catch a line or two simply because most current songs follow a trend of short and repetitive lyrics, making them even easier to remember.

A perfect example of a Ugandan chart-topping song is Merry Christmas by Philly Bongoley Lutaaya, released in 1987. This song dominates the Ugandan airwaves annually between November and December. Despite the release of new Christmas songs by various Ugandan artists over the years, Merry Christmas by Philly Bongoley Lutaaya always secures the No.1 spot during the festive season. It’s so deeply ingrained in Ugandan culture that it signals the arrival of Christmas. From the Tecno shop on Kampala Road to the most remote village in Uganda, Merry Christmas by Philly Bongoley plays everywhere.

But before the festive season, we always have new hits making waves. Some songs barely last two years (or even one), but they make people dance in their short-lived moment of glory while also bringing joy to the artists and producers behind them. While “It’s okay not to have a hit song”, every music artist out there would want a hit song, least perform to a wider audience—just as it would mean a lot to us when you read and share these articles.

Given this, and without favouring any artist, genre, or paid mentions, but purely based on thorough research across media, street plays, and overall potential, here are the Top 10 Songs in Uganda as of March 2025 by Nymy Net

(10). Tabbu by Dax Vibez & Ava Peace
Produced by Nessim Pan Production at Shot Gun Sounds.
Written by Bugembe Ivan Ssentamu.
Music Video by Jahlive Studios (probably Director Frank Jah Mugerwa).

(9). Kinawolovu by Nandor Love
Produced by Genee.
No composer credit, probably the artist herself.
Music Video by Jahlive Studios.

(8). Ku Sure by Dax Vibez & Azawi
Produced by Banga Boi at Swangz Avenue.
Written by Bugembe Ssentamu Ivan.
Music Video by Director Darlington Kalenge at Grate Make Films.

(7). Tanimba by Vyroota
Produced by Bang Boi at Swangz Avenue.
Written by Musigazi Abdul Aziz.
Music video by Ivash RS at Cloud 9 Films.

(6). Nze Mpako by Shakira Shakiraa & Winnie Nwagi
Produced by Nessim Pan Production.
Written by Shakira Kyebalaba.
Music Video by Jahlive Studios.

(5). Natera by Ava Peace
Produced by Yeee Femi.
Written by Namugonza Maureen Peace (Ava Peace).
Music Video by Jahlive Studios.

(4). The Interview by Feffe Bussi & Evelyn Mic
Produced by Bass Boi.
Written by Mukiiza Frank (Feffe Bussi).
Music Video directed by Sydney Wala.

(3). Temumanyi Kyemusiga by Chosen Becky
Produced by Brian Beats.
Written by Ssozi Moses.
Music Video directed by Patrick Miles at Fire House.

(2). Che Che by Fyno Ug
Produced by Bass Boi.
Written by Fyno Ug.
Music Video directed by Fynal Qopy at Virtual Media.

(1). Ekyange by Elijah Kitaka
Produced by Banga Boi at Swangz Avenue.
Written by Elijah Nsubuga (Elijah Kitaka), Fred Buwule Kanyike and Ssekajja Marrick (Banga Boi).

Bonus Tracks (11-15)
(11). At My Dorr by Dax Vibez
(12). Misuwa Gya Love by Carol Nantongo
(13). Sirubala by Vinka
(14). Gwokute Gwobba Remix by Uncle Chumi & Spice Diana
(15). Akafe (Che Che) by Karole Kasita.

What track do you think should be on this list?

Anyone who is friends with their screen—television, handset or otherwise—is well aware of the velocity with which African music is evolving. And yes, the excitement accompanying this growth is as hair-raising as it is heart-racing. Yet, like the rest of the continent, East African music artistes in the process of this evolution are being overshadowed by the Lagos effect. It is Nigerian music dominating the airwaves.

However, one East African artiste is defying these odds, and daunting as it may be to his bald head, he is bravely hitting it head-on! Ladies and gentlemen, Bien-Aimé Alusa Baraza, famously known as Bien, is, according to Wikipedia, a Kenyan singer, songwriter, guitarist, music executive and entrepreneur. He is a member of Sauti Sol, a Kenyan Afro-pop music band, and a globally recognised Grammy award-winning songwriter.

Bien’s 2023-2024 Music Collaborations
After the Sauti Sol outfit decided to explore solo projects in 2021, Bien seized the opportunity to turbocharge his skills, shine brighter, and turn heads! Recently, he has been delivering chart-topping hits with collaborations like Wahala with Adekunle Gold (Nigeria) and ShineTTW (Nigeria), Ma Cherie Remix with Fally Ipupa (Congo), My Baby with Ayra Starr (Nigeria), Too Easy with based DJ Edu (UK), Sex and Marijuana with Ms Banks (UK), Iyo Foto with Bruce Melodie (Rwanda), No Body with Darassa (Tanzania), and Joshua Baraka’s Nana Remix featuring Joeboy (Nigeria) and King Promise (Ghana). Bien is also featured on numerous music albums, including Swangz Avenue’s Swangz All-Star Album. All this in just two years!

In one of my previous articles, I emphasized the need for East African artistes to approach music as a strategic business and cultural platform. Bien’s calculated moves align perfectly with this vision.

Bien’s observed strategic approach to collaborations has caught my attention, as well as that of other industry insiders, who believe his formula could be the key to East Africa’s music industry challenging Nigerian dominance on the African music scene. This approach aligns with the ideas I discussed in my earlier article. Today, let’s build on this concept and modify it into something akin to soccer formations, offering a fresh perspective on crafting a winning strategy for East African music.

This ideal formation, purposed for the exportation of East African music through collaborations, can be summarized into a formation code K+U+R+T+ (UK+US), which represents collaborations between artists from Kenya (K), Uganda (U), Rwanda (R), and Tanzania (T), and later with artistes from the United Kingdom and United States.

Essentially, this means East African artistes should:

Expand Beyond Intra-Border Collaborations
East African Artistes must move away from limiting their collaborations to those within their own countries and venture into inter-border collaborations.

Foster Regional Collaborations Across East Africa
Such collaborations should intentionally involve artistes from different East African countries. Examples include Ugandan D-Star’s Hoozambe Remix featuring Kenyan Trio Mio, Harry Craze, Ssaru, and Ambassada; Spice Diana’s Upendo featuring Tanzanian Zuchu; Bruce Melodie’s Nyonga featuring Uganda’s Eddy Kenzo; Rwandese The Ben’s Why featuring Tanzania’s Diamond Platnumz; Kenya’s Khaligraph Jones’s Kwame featuring Tanzania’s Harmonize; and Kenya’s Nadia Mukami’s Kipepeo featuring Rwandese Bruce Melodie. Bien has excelled in this aspect, demonstrating its effectiveness.

Minimize Dependence on Nigerian Collaborations
Nigerian collaborations often come at a high cost and rarely receive optimal promotion outside West Africa. While these partnerships can be fruitful, they are not always strategic for East African artistes aiming to maximize their regional footprint. For instance, Bien, deviating slightly from this approach, has collaborated with Nigeria’s Adekunle Gold on the chart-topping Wahala.

Target US and UK Collaborations After Regional Growth
Once firmly established in East Africa, music artistes should aim for collaborations with artists from, particularly the US and UK, as these markets continue to dominate the global music industry. Nigerian artistes have successfully leveraged such partnerships to position Afrobeats on the global stage. While Bien has yet to fully explore this venture, he appears poised for such opportunities.

This formation code is the winning card with the potential to propel East African artistes to global recognition and surpass their Nigerian counterparts. The code directly beats, among other factors, the advantage of numbers that Nigerian music seems to thrive on, both in the country and diaspora; what with the huge numbers of diaspora-based Nigerian fans that flock to international Nigerian-themed shows—we are talking Burna Boy, Davido, Wizkid and Asake auditoria shows filled to the brim!

Bien is embracing the K+U+R+T formation and is on track to become East Africa’s most formidable export. His strategic moves suggest he will soon dominate global music scenes alongside the likes of Nigerian music stars.

Tanzania’s Harmonize follows closely, with a series of (K+U+T) + (US+Jamaica) collaborations. However, his main challenge is balancing global aspirations with a strong Tanzanian fan base—a tough task given the rivalling influence of his former mentor, Diamond Platnumz.

Dubbed Tanzania’s “Music godfather,” Diamond’s financial position, strategic adaptability, consistency, and reach often overshadow Harmonize’s efforts. Adding to this rivalry is the rise of local stars like Marioo, Zuchu, Jay Melody, and Mbosso, along with Ali Kiba’s refusal to step away from the spotlight, further complicating Harmonize’s journey.

His collaborations with Jamaica’s Spice, Konshens, and US rapper Bobby Shmurda, while promising, lack the strategic alignment of K+U+R+T + (UK+US), leaving his formation ineffective and his aspirations increasingly difficult to achieve.

Uganda’s Eddy Kenzo has leaned into the U+R+T + (US) formation, sidelining Kenya and the UK in his collaborations. However, this approach remains limited and insufficient to solidify his position as a strong East African export, despite his past global popularity. His recent collaborations with US artists often go unnoticed until he unexpectedly receives an award announcement beyond the Atlantic. This trend suggests his focus may be more on accolades than on asserting an East African presence.

A prime example is the song Gimme Dat featuring US artist Matt B, which remained largely under the radar until it garnered a Grammy nomination. Many fans only learned of the track after the nomination, raising questions among analysts about its sudden recognition.

Moreover, Kenzo’s increasing responsibilities as a husband, leader of the Uganda Musicians Federation, and presidential advisor on creatives have significantly occupied his time. As a result, his global aspirations appear to be slipping further out of reach and focus.

Rwanda’s Bruce Melodie, unlike Kenzo, focuses on Kenya and effectively leverages the K+U+R+T (US) formation, featuring Bien on Iyo Foto and Nadia Mukami on Kipepeo, outperforming Kenzo in the process. He also navigates Uganda and Tanzania impressively. His strengths lie in his language skills and rapid collaborative releases, nearly doubling Kenzo’s output, keeping him a TV and social media favourite in East Africa. His track When She Is Around with Shaggy was a standout success. He ranks third after Harmonize.

Overall, aside from Bien, Kenyan artists like Khaligraph Jones, Otile Brown, Bahati, Savara, Trio Mio, and others affiliated with Black Market Records are relying more on luck and hard work than strategic planning. While their music is popular on airwaves and digital platforms, they are far from the K+U+R+T+ (UK+US) formation and from driving an East African takeover. This shift has turned Kenya into a music marketplace, not the production hub it once was in the late 1990s when Ogopa DJs made it the center of East African music. (Out with the Gen-Zs!)

Azawi, on the other hand, has the talent and potential to make waves akin to Bien’s success, but her quest for global recognition appears hampered more by management challenges and budget limitations than by her abilities.

Diamond Platnumz’s strategy as an industry game planner is complex and lacks a clear direction. Although he may not fully recognize it, this ambiguity has hindered his ability to compete on the same level as global icons like Burna Boy, Wizkid, Davido, and Asake, despite contributing to his rise in fame. He appears to have adopted Rule 48 from Robert Greene’s The 48 Laws of Power, which emphasizes the importance of being formless and adaptable.

His career thrives on collaborations across Tanzania (T), South Africa (SA), Nigeria (N), and the US, though he avoids East African partnerships, except for DRC. Despite efforts like sampling Afrobeats and Nigerian collaborations, he struggles to crack the Nigerian market, often provoking rather than aligning with it. His 2022 First of All EP reflected this approach, blending Afrobeats with Nigerian producers and artists, yet lacked consistency. A shift to the K+U+R+T (UK+US) formula could streamline his efforts and empower his Wasafi label artists.

Joshua Baraka mirrors Diamond’s early strategy, using U+K+R+N collaborations (Uganda, Kenya, Rwanda, Nigeria). While promising, the Nigerian focus could strain finances without proportional returns.

Meanwhile, Rayvanny pivots to collaborations from Latino countries, diverging significantly from the traditional formation codes that have guided many artists in the region.

In contrast, many prominent Ugandan music artists and figures lack a clear collaborative framework, which limits their ability to fully exploit the advantages of strategic industry partnerships.

Bien is on the right path, with hopes he’ll inspire others to adopt this collaborative formation, guiding East African music toward global recognition and challenging Nigerian dominance. This shift is vital to counter the West’s tendency to label all African music as Afrobeats, overlooking the continent’s rich diversity. West side vs East side—boy, that’s the vision! No Wahala!

Reflecting on Mowzey Radio today, I wonder if love escapades influenced his emotion-filled lyrics in songs like Ntunga, Neera, and Nyambura, name them. Let’s talk Radio!

In the period preceding Radio’s death, the Fik Fameica wave was having an effect on almost all artists who had thrived in the Goodlife era, including Goodyfe Entertainment itself. Radio and Weasel’s records like Omwana wa Bandi, Ntwaala Jogenda, Done, Plenty Plenty, and Coming Home to Africa with P J Powers were among their career’s worst performers; only Juicy Juicy, Guddi Gudde, and Byagaana with Ziza Bafana were exceptions. This was not due to artistic incompetence but is believed to be a result of Goodlyfe Entertainment severing business ties with a competent music manager, Jeff Kiwanuka, and a shift in the Ugandan music consumer market towards the Fik Fameica rap style.

This style influenced the then diaspora-based Rickman’s Naaki, Mun G’s Fatti, and the styles of Suspect Leizor and all other budding rappers of that era. However, after Radio died in 2018, most of Goodlife Entertainment’s records, recorded in the period preceding his death, such as Romantic Call, Enyimba z’Omukwano, Kasuubo Jane, Mbagaliza kweyagala, and others, which were primarily Radio’s solo records, began to gain popularity. These are the records with which this generation strongly connects. Consequently, if a higher percentage of Goodlyfe Entertainment’s music that resonates with the current music consumer market is primarily by Mowzey Radio, Weasel, who appears to have become musically less active during this period, faces a challenge.

This generation of music consumers believes that Weasel is constantly performing Radio’s songs, and at worst, that he is attempting to steal Radio’s music—a view shared by Lillian Mbabazi and Radio’s family. Consequently, the daunting task of making his own music is imposed on Weasel. However, loyal Radio and Weasel fans assert that this is unfair, unrealistic, and stressful.

It’s also believed that the fast-paced music industry, characterised by the rapid rise and occasional fall of many artists, coupled with a general lack of interest in research, among other factors, has led to a certain level of ignorance among music consumers and observers regarding the music industry. For example, many people are unaware that Radio and Weasel were a unified singing and music business duo, and that all their work, including solo projects, belonged to Goodlyfe Crew.

As a result of the above-misunderstood facts and the loss of a longtime friend, Weasel’s mental health hasn’t been the same. That is why what we would so much love to call the Radio Legacy, given Uganda’s great reverence for Radio and its contributions to the industry, should be called the Goodlyfe Legacy. Any monument celebrating Radio without acknowledging his singing and business partner, Weasel, would undermine and destroy Weasel, despite any potential benefits. Yet, the simple history of Goodlyfe Entertainment reveals that Weasel’s decision to befriend Radio, then an unknown junior, while they were under Jose Chameleone, ignited the formation of Goodlyfe Entertainment and the iconic Radio. This is why I intentionally gave this article a misleading title. So now let’s discuss the Goodlife Legacy and how the government, the Ugandan industry, Goodlyfe Entertainment, and Weasel can leverage this legacy in building the nation

Before we expertise the details of my opinions, I would like to stress:

Weasel Manizo New Song?
It is my strongest opinion and conviction that Weasel does not need to record and release more music, as he is clearly not emotionally prepared. He could add his voice to some of Radio’s pre-recorded, unreleased tracks and release them as albums or EPs with effective business strategies, but he should not feel obligated to create new music.

The music industry’s current dynamics and tides are incredibly complex and challenging for artists from past eras to swim in. Many have been suffocated out of business, whether they realise it or not. One such artist who is desperately trying to defy this trend, with detrimental effects on his personal life, health, and music reputation, is Jose Chameleone.

A very important lesson for Weasel to learn is from Bobi Wine, who, by wit or luck or both, created a sustainable model for when his bright musical colours would fade. He did not wait for his music ray to wane before jumping into politics and, as if by rebirth, maintained and augmented his status in this country. He is the best example of why and how artists should evolve. So instead of sticking to the depressing task of releasing music, Weasel should seek to evolve using the Goodlyfe Entertainment music capital just as Bobi used his music capital to evolve into a politician. So, are we saying Weasel should become a politician, too? No. He should become a businessman, like Benon Mugumbya or Julius Kyazze.

Formally defined, the music industry is the Uganda Musicians Federation. As the spearhead of the Uganda National Musicians Think-tank, which we discussed in our previous article, this federation should also function as the music industry’s representative in lobbying for the creation of the Goodlyfe Legacy. This legacy can be transformed into the Goodlyfe Entertainment Project. Weasel, the surviving director of Goodlyfe Entertainment, should develop the Goodlyfe Entertainment Project proposal, outlining its objectives and desired activities, as we will explore today. Through the Uganda Musicians Federation, this proposal should be presented to the government and development partners for funding and support. Given the tense political climate in Uganda, it is crucial to shield this venture from political interference. This is the desired structure of the Project Proposal. Not here though! Subscribe to our newsletter for the final part of this article.

This Friday, 02 August 2024
Weasel Manizo The Magician (Memories of Goodlyfe).
Hotel Africana, Kampala, Ug

Goodlyfe Crew: Radio Mowzey Legacy – What’s Next for Weasel Manizo (Part 2)

At age 12, very few boys possess the gift and the patience to peruse more than three paragraphs of a daily newspaper’s Page 2 without succumbing to the allure of rushing to that newspaper’s entertainment pullout that’s always in the middle, to gaze at a Sheebah Karungi or Winnie Nwagi performance story or either a half-naked picture, swiftly followed by a quick scan of the sports section at the hind, often accompanied by a tired sigh, relegating the rest of the newspaper content to insignificance and rendering it to a less important use as that of toilet or charcoal stove work.

My soul collapses in the hands of disappointment when I see newspapers used to wrap foodstuffs in market stalls or burned. That smoke would burn my lungs worse than smoked tobacco. My heart sobs when volumes of information, themselves possessing the potential to change their lives, are underappreciated to this degree. No longer can you find a lad who knows what Sudoku is!

Fortunately, I did not fall into that category of boys when I clocked 12. My father, whenever he bought a newspaper, graciously permitted me to read it end to end and then assigned me the esteemed duty of recounting the news stories each morning to him as he sipped on his tea and ate his peppered plantain (sometimes steam was engendered out of his mouth, and tears welled in his eyes when the plantain was unusually hot). This responsibility was a privilege, for in my eyes, my father lived in the holy of holies of the Jewish Temple! It is such a practice that made me fall flat in love with Deutschland Magazine.

Deutschland was a very thick monthly volume of a magazine that was sent to my Uncle Willy by God-knows-which-friend-in-Germany through the post address of my father. Uncle Willy was my father’s younger brother. But he never came around often, and his Deutschland magazine copies eventually developed into a mountain in my father’s library. I gave these magazines the dedication that neither my father, Uncle Willy, nor any of my siblings could afford for them. Deutschland Magazine was a treasure trove of profound insights into Germany, chronicling its struggle-filled journey through history in the realms of culture, commerce, politics, and climate, all approached with a seriousness that resonated too deeply for a 12-year-old to grasp. It portrayed Germany as operating in a seemingly self-centred manner, prioritising its interests over those of other European nations, even if it entailed forming alliances to advance its agenda.

But let’s now get back home. To Uganda. To Africa.

The Nigerian music industry’s ascendancy as a dominant force within the African music landscape has had profound, largely negative implications for the music industries of other African nations. The impact of this tendency is something Deutschland Magazine would have gladly featured in its pages. Why? Because this trend is being strongly felt across the globe, even in Germany. It reminds us of the Nigerian film industry’s influence in the 1990s.

You see, in the 1990s, the Nigerian film industry, led by prolific filmmakers like Tunde Kelani and Amaka Igwe, and others, gained widespread acclaim across Africa. This era saw Nigerian films becoming synonymous with African cinema, leading to the misconception that all African films originated from Nigeria.

Fast forward to the present day, a parallel storyline unfolds within the music industry. Renowned Nigerian artists such as Burna Boy, Davido, Asake, Tems, Ayra Star, and Wizkid have propelled Afrobeats to unprecedented global recognition. This genre has surged to prominence on esteemed platforms like the Billboard charts, marked by significant collaborations with international icons such as Chris Brown, Justin Bieber, Ed Sheeran, Tyga, and Sean Paul. Their presence at prestigious events like the BET Awards, coupled with Grammy nominations and victories, underscores the unparalleled success achieved by Nigerian musicians. Remarkably, no other African nation has achieved such widespread acclaim, surpassing even South Africa in this musical realm. In a remarkable display of creativity and cunning influence, Nigerian artists have adopted Amapiano, a music style originating from South Africa, blending it with Afrobeats and calling it their own. This fusion has propelled Amapiano into a global phenomenon, solidifying its status as a sound that transcends borders and captivates audiences worldwide. This is good and bad.

Numerous African nations have found themselves eclipsed by the overwhelming influence of Nigeria’s music exports. To ensure the survival and vitality of each country’s music industry amidst this dominance, every nation must devise distinctive strategies to combat the threat of extinction.

Uganda, in particular, should chart a unique path in this endeavor which is wholeheartedly embracing the long-standing pursuit of the East African Community’s (EAC) East African Federation whereby they will have to utilize the pursuits of politicians to form unions not only in oil & gas, trade, tourism and other unions but also in the unison production and exportation of quality music. The music industry in Uganda, much like in many other African countries, faces the challenge of maintaining its identity and relevance in the shadow of Nigerian musical prowess.

By actively participating in the EAC’s vision of a unified East African Federation, Uganda can carve out a distinct niche for itself within the regional and global music landscape.

East African artists should prioritise collaborations within the region to strengthen their collective presence. This involves artists from Uganda, Kenya, Tanzania, Rwanda, Burundi, and South Sudan actively working together on music projects, whether it’s singles, albums, or even joint tours. East African artists should refrain from seeking any collaborations with Nigerian artists (at least for now), as West African musicians typically do not invest significant effort in promoting joint projects with non-West African artists.

Instead, when these intra-East African collaborations gain substantial visibility across the continent, the artists should take the next strategic step, which is to purposefully seek out collaborations with musicians from the United States and European regions, and record audio and videos produced by talent from these global hubs.

By integrating with these leading musical states, East African artists will find themselves competing side-by-side for worldwide acclaim against the Nigerians. This is a political tactic of forging a supportive alliance with one with whom you share a common goal.

By growing together, the artists can then collectively push each other’s export products to foreign markets, rather than competing against one another as East Africans.

This approach allows the East African music industry to break free from the shadow of Nigerian dominance, cultivating a distinct identity and global presence. Through strategic collaborations that transcend regional boundaries, East African artists can position themselves for sustained success on the international stage. And I have christened this model the East African Music bloc.

The Ugandan government has a role to play in championing this. On top of what is going on in the corridors of parliament concerning the copyright law pursuit, Government support and policy interventions here are needed too. The government’s voice is what will be listened to by EAC member state leaders, only who can give a go-ahead to the East African Music bloc. The government also has a role to lobby for favourable tax incentives and regulatory frameworks that empower artists and incentivise investment in music production and distribution infrastructure, as well as directly contributing to a pool of funds put together by the member states of the EAC to export our music.

The West Coast and East Coast wars of the United States need to be created even here. Our music must survive. Even by crooked ways. Germany did it—Au revoir.

In our previous article, we scratched a significant subject: music labels, and we took our views from the perspective of Diamond Platnumz of WCB Wasafi. While there are numerous successful music label executives in West Africa to consider, Diamond Platnumz’s narrative hits closer to home and is more relatable than theirs. Someone’s face is twitching in disagreement. Well, his YouTube channel ‘Diamond Platnumz’ with more than 2 billion views and 8 million subscribers—and those of his current and former label artists- are replete with documentary films that provide viewers with an inside look at all the operations conducted at his Wasafi label daily to achieve success in the music business. From studio recording sessions, writing sessions, walk-throughs, video behind-the-scenes, artistes’ life stories, etc., you will be left nodding and confessing: Hakika hawa wadogo wanachapa kazi!

Now let’s look at this through the binoculars of Uganda’s music scene; behind every chart-topping hit that is financially viable to the individuals who have invested in it, there often stands a music label or a group of people playing different roles in orchestrating its success. In Uganda’s case, what has been lacking is the professionalisation of these individuals and the fostering of collaboration amongst them in an integrated working chain. This setup should provide sustainable success for the artists, for them to extend beyond hits to attain lifelong financial success through their music.

Music labels play a vital role in shaping the music industry, providing artists with the necessary resources, guidance, and promotional support to navigate the ever-evolving landscape of the music business. This article shall circle the functions and importance of music labels in Uganda’s vibrant music industry, highlighting their impact on artist development and examining the challenges they face in today’s rapidly changing world, as well as how a typical Ugandan artist can set up label each one at their financial level. Tighten your seatbelts…

In reviving the music industry, music labels should be viewed as the backbone of Uganda’s music industry, functioning as both custodians of artistic intellectual property and drivers of artists’ commercial success. They serve as talent scouts, discovering and nurturing promising artists, and as tastemakers, curating a diverse array of music for audiences to enjoy. Labels also provide crucial financial support for recording, production, assembling, marketing, branding, and enabling artists to realise their creative visions and reach wider audiences.

One of the primary roles of music labels worldwide is to provide artists with the resources and guidance they need to succeed in the industry. From state-of-the-art recording studios to experienced producers and engineers, labels offer artists access to professional-grade facilities and expertise to elevate their sound. Additionally, labels often provide artists with strategic career guidance, helping them navigate the complexities of the music business, negotiate contracts, and make informed decisions about their artistic direction.

Music labels are responsible for artist promotion. Promotion is essential for any artist looking to break through in the music industry, and music labels excel in this regard. Labels leverage their extensive networks and industry connections to secure airplay on radio stations, placement on Digital Streaming Platforms’ streaming playlists, and coverage in traditional and digital media outlets. They also organise promotional events, such as album launches, concerts, and tours, to showcase their artists to fans and industry insiders alike.

For instance, let us study how Diamond Platnumz made a financially stable star out of Harmonize, almost overnight. He discovered Harmonize while attending a local music competition in Dar es Salaam, Tanzania. Harmonize, then a relatively unknown artist performing at the competition, caught Diamond’s attention with his unique vocal style, stage presence as well as resilience.

After signing with WCB, Harmonize received personalised career guidance from Diamond Platnumz himself. Diamond mentored Harmonize on various aspects of the music industry, including songwriting, vocal delivery, and stage performance. For example, Diamond advised Harmonize on selecting the right songs for his debut album AfroBongo and provided feedback on his live performances during rehearsals at the WCB studios in Dar es Salaam.

Diamond invested in Harmonize’s career by providing him with access to state-of-the-art recording studios and production facilities, and Producer Liser. Harmonize recorded his debut singles and albums at the WCB studios, with Diamond overseeing the production process. Additionally, Diamond financed and collaborated in music videos for Harmonize’s songs, such as “Bado” and “Kwa Ngwaru,” which were shot in expensive locations in Zanzibar and South Africa. These videos garnered millions of views on YouTube and received extensive airplay on Tanzanian radio stations.

Through Diamond’s connections in the music industry, Harmonize had the opportunity to collaborate with established artists and producers both locally and internationally. For instance, Diamond facilitated Harmonize’s collaboration with Nigerian superstars like Yemi Alade and Krizzbeats on ‘Show Me What You Gat’ which was recorded in Lagos, Nigeria, and became a chart-topping success across Africa. Diamond also introduced Harmonize to influential figures in the music business, paving the way for strategic partnerships and career advancement.

In the case of Uganda, music labels here have tried to make significant strides and contributions to the success of artists both at home and abroad. Labels like Swangz Avenue and, recently, US-based Black Market Records have played great roles in nurturing talent, especially between the Fik Fameica and Lockdown eras. But despite their invaluable contributions, music labels in Uganda still face a myriad of challenges in today’s rapidly evolving music landscape.

The Ugandan music industry still grapples with several challenges stemming from historical factors associated with the dominance of the Big 3. These challenges include unprofessionalism in contract signing, adherence and general conduct of business, wrong artiste branding, which is a cancer that leads to reduced demand, low-income percentage for artistes during royalty sharing, lack of artist development and support, limited access to resources and opportunities, and inefficient industry regulation and oversight. And let us not forget our unprofessional media that have made artists make unprofessional mistakes as a way to satisfy said media (discussion for another day). Furthermore, the lack of investment in artist development programs stifles talent growth and potential. Limited access to financial resources, professional networks, and distribution channels hampers the industry’s competitiveness, while inefficient regulation exacerbates these issues.

The rise of digital streaming platforms and the decline of physical album sales have forced labels to rethink their business models and revenue streams. Kasiwukira made a killing off tape sales in his time. Right now , those are nowhere in the business.

To thrive in this dynamic environment, Ugandan music labels, like any music label anywhere, must embrace innovation, leverage technology, and foster strategic partnerships with brands and other industry stakeholders; talk of big names like Universal Music, Warner Music, and Sony Music. Although music artists like Keko and Vinka have encountered challenging collaborations with Sony Music that did not seem to work to their advantage and that nearly (or completely) ruined Keko’s career, such partnerships are still considered necessary. What’s essential is knowing the specific type of contracts to engage in with these companies. Opting for distribution contracts rather than all-encompassing 360-degree agreements, which oversee all aspects of the artists and their creations, is key.

By embracing digital distribution channels, investing in data analytics, and exploring new revenue streams such as sync licensing and brand partnerships, labels can continue to play a vital role in shaping the future of Uganda’s music industry.

If you’re a Ugandan artist dreaming of owning a record label– as I advised in my previous article– and earning from music royalties, here’s a simple step-by-step guide to help you get started. You won’t find this anywhere, trust me:

Step 1: Dream Big and Plan
Imagine what your label will be like and plan your path forward. Think about the type of music you want to promote and who your audience will be.

Step 2: Get Legal and Save Money
Whether you’re starting from scratch or are already known in the music scene, you need to protect yourself legally and financially. Consider registering your label as a business to keep things official. If you’re just starting, use your savings to cover the initial costs. If you’re more established, you might seek investors or loans.

Step 3: Find Money
There are different ways to get money for your label. You can use your savings from the hustle (instead of buying your peers alcohol and drugs, put this money into setting up your company), ask friends and family for help, or even try crowdfunding online. Some artists also partner with investors or get loans from banks.

Step 4: Set Up Your Label
Start small if you need to. You can create a basic recording studio for artists to make music. Build relationships with places that can sell or stream music so people can hear your artists. Use social media and other ways to tell people about your music (Check out what Diamond Platnumz did for his label artists, in the previous article).

Apart from Diamond Platnumz, from Tanzania, there are Nigerian entrepreneurs like Don Jazzy, who founded the record label Mavin Records, and Olamide Adedeji, known as Olamide, who established YBNL Nation. These label owners have not only built successful businesses but have also nurtured talented artists and contributed to the growth of the Nigerian music industry.

Step 5: Support Artists
Help artists grow and succeed. Find new talent, manage their careers, own their record masters and make sales out of them and distribute the royalties from these records fairly between the company and the artist.

Step 6: Government Role
As the government of Uganda works to strengthen copyright legislation, it is essential to consider investing in artists who aspire to establish record labels. Setting up a record label is a fundamental step for artists seeking to manage their careers effectively and contribute to the growth of the music industry.

To support artists in this endeavour, the government can provide financial assistance and technical support through various means. One approach is to establish grant programs or low-interest loans specifically tailored for artists interested in starting record labels. These funds can be used for equipment purchases, studio rentals, marketing expenses, and other startup costs associated with running a label.

Additionally, the government can offer training workshops, mentorship programs, and access to industry experts to help artists develop the necessary skills and knowledge to run successful labels. Examples of governments that have implemented similar initiatives include the United States, through programs like the Small Business Administration’s Arts and Entertainment Financing Assistance Program, and Canada, with initiatives such as the Canada Music Fund, which provides funding for music businesses and organisations.

By investing in artists’ entrepreneurial endeavours, Uganda can foster a more vibrant and sustainable music ecosystem while empowering local talent to thrive in the global music market.

Let’s catch up for a cup of coffee next time…

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My father was a brilliant, charming, and happy man. He was a clergyman with a powerful influence. When he spoke, you had to listen because his voice was full of authority, wisdom, and humour. He was an exceptional speaker; he never stammered and captivated audiences better than anyone I’d heard. Some speakers might have a gift for oratory but lack humour, or vice versa. I admired and feared him in equal measure. I feared him because he was a strict disciplinarian, but my admiration for him was boundless. I followed him throughout his life, reading what he read and trying to understand the people and experiences that shaped him. I read all the literature that he left out in the open. He was my idol. In my child’s mind, I thought he was invincible. With his vast knowledge, he surely knew how to avoid the problems that plague ordinary people.

As I grew older, my relationship with my father became more complex. Over time, I understood why. Unlike any of my siblings, I had learned about him from a unique perspective. In this way, I unintentionally became his rival. Sadly, this great man passed away in 2017. He left me with a powerful mix of emotions: love and fear. These feelings linger even in his absence.

What prompted me to write about him was the very cause of his death, which I am uncomfortable disclosing. However, I will say that it started small but grew to have devastating consequences.

In my last article, I discussed how many Ugandan music industry players are aloof from the industry’s core. I don’t mean to imply that they haven’t made contributions or are uninterested. That’s not what I meant at all. What I’m trying to get at will become clear in this piece.

Yes, some people may not have grasped the significance of the eras I outlined in my previous post. I anticipated this because it wasn’t meant to be completely understood at first glance. That’s why we’ll need to dissect it piece by piece.

The categorisation of eras is a useful tool to portray the challenges the Ugandan music industry has faced and inherited over time. If these eras are not studied, there’s a serious risk that the problems will continue to be passed down, eventually leading to the industry’s demise, just like my father. I don’t want to bear any responsibility for the Ugandan music industry’s death due to my inaction.

There has been a persistent problem between eras that I will christen “the dogma of non-inheritance.” This is the very reason the eras exist in the first place, and why they are so distinct from each other, often marked by hostility. For instance, it was basically because Leone Island was not prepared to groom another Jose Chameleone. Chameleone wasn’t ready to be inherited, for I think he opined that he was the greatest player in Uganda and forever would be. Out of the troubling feelings that are associated with waiting for too long to sprout on the side of Weasel and the spirit of competition on the side of Radio, Goodlyfe Entertainment was born, and boom, an era was before our eyes!

Now, though I am not a person who loves the inheritance of sound and style, on which Goodlyfe Entertainment scored (they copied nothing of Chameleone’s Afrobeat and horse-voice style), I love it when despite the change in the two above, the sustainable fundamental business skills of the industry are inherited from senior to junior, consolidated, and improved. In this case, they were not. If they were, then they were not the correct ones.

I have a major bone to pick with Jose Chameleone and his Big 3 counterparts for failing to learn from Kasiwukira. Does that name ring a bell? For the benefit of our younger generation, Kasiwukira was the man who used to buy artists’ recordings (in proper music terminology, a song is called a record. You’ll sound knowledgeable using this term with your peers) and their masters, and then sell them at retail prices, making a significant profit. He sold tapes throughout the country and even abroad, and he owned he rights to all these recordings.

If Bebe Cool, Bobi Wine, and Jose Chameleone had followed Kasiwukira’s model, we would have the 3 biggest record labels in East Africa: Leone Island Records, Gagamel Records, and Fire Base Records. Instead, we simply have informal crews. Isn’t that disappointing? What Kasiwukira was doing is the foundation and core concept upon which record labels are built, operated, and thrive. So, what should the Big 3 have done? Continue reading.

At the point when they discovered that Kasiwukira was making chunks of money off them, they should have sold whatever property they had accumulated and started doing what he was doing. By the effect of time, their natural artistic intellect, as well as their influence among music consumers (fans), would make them billionaires now. They would be harvesting money from artists of all the eras that came after them. Let me break it down; if you discover a talent like Radio, groom him, have him record albums at Leone Island Records, buy all the rights to his albums at say 2 million each, and sell his albums at whatever retail price you choose, you become Mr. Big Bucks in no time, and still remain an artist; boy, the market was virgin like Mary! Do the same for Weasel, King Michael, King Saha, Master Parrot, Rabadaba, Melody, Papa Cidy, name them. Those names were big enough to make Chameleone a billionaire, but sadly, their greatness did not affect his pocket, in the same way that Butchaman, Master Parrot, Kabaya, Mr. Casanova, Toolman, Weatherman, Nubian Li had on Bobi Wine’s, and Rema (and who else?) had on Bebe Cool’s. This is the same approach that the Big 3 of the global music industry, Universal Music, Warner Music, and Sony Music, have been using since time immemorial and has not only made artists wealthy but has also given us some of the biggest music names and catalogues, many of which we would never have known at all. Take a deep breath.

It is similar knowledge (though I suppose not entirely) that Benon Mugumbya came into encounter within the event when he ditched the famous Benon and Vamposs outfit and forged a music label out of a mere studio, thanks to business minds like Julius Kyazze. Now, though Swangz Avenue came in late when most of the money had gone to a non-musical businessman, they are playing their cards fairly. The success of Swangz Avenue is the same reason why history will always be furious with the Big 3, for having failed to make such a business move in the era of Kasiwukira, as well as in the present times, when Swangz Avenue should have been an additional motivation. Rumblings such as those that presently accuse Bebe Cool of not doing what Don Jazzy has done for the Nigerian industry are, from a wider viewpoint, history’s accusing finger towards the Big 3.

An industry expert, who prefers to remain anonymous, opines that the failure of these artists and others to take this bold business move is because of the fact that every individual has their own abilities, and most of these artists are only gifted in writing and performing music. “Every market should be two-dimensional in such a way that artists focus on what they do best—making music, and businessmen focus on playing with the forces of the market,” the expert stresses. To complement, but not differ from, this opinion, artists should acquaint themselves with the knowledge of how to consolidate the two and craft a business out of them. There is always room to relearn or employ someone with the skill to do what one desires to do, as long as it has the letters M, O, N, E, and Y on it.

If Kasiwukira, in his limited knowledge of the global music industry (for I am doubtful that he knew what was going on at Universal Music or Warner Music), knew how to play with the demand of Ugandan music, which the Chameloenes had afore created, how much more would Chameleone do with his deep and diverse knowledge of the Ugandan music industry? He had managed to heighten the demand for Ugandan music, and he could satisfy that demand with a good supply and smile at the bank. Ditto for Bobi Wine and Bebe Cool. If this microeconomics was too much to handle, why would he not hire a Jeff Kiwa or Chagga, who were at his disposal to handle that?

Well, with zero intention of keeping you here all day, I would like to throw a few ideas (actually, it is one idea) that the present Ugandan music industry players can use in the face of the above loophole. Artists are carrying this industry on their backs and have 80% responsibility for it, with the rest only pulling on the teats of the industry’s udder. It is why they should plan to reorganise their craft, and each one plans on starting their labels at their levels, employing technical staff to handle the marketing and sales departments. They should do it not as Kasiwukira did, for his approach is long outdated, but rather in the direction of the current music consumption style. They should own their masters, buy other artists’ masters, and play with technology to make money from and for this industry; I tried so much to end this article by not mentioning the name Diamond Platnumz, but I have failed because I have just written here hahaha. This is why my next episode will be about the dynamics of setting up and running a record label like he did in Tanzania. But for now, rest in Peace, Kasiwukira. Rest in Peace, my father.

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Understanding the 5 Eras of Ugandan Music (Part 2)

Global Beats or Ugandan Roots? Part 1 left us with a dilemma. Now, Part 2 delves into the contemporary eras – Ziza Bafana, Fik Fameica, and Lockdown. But before we dig in, have you been following? Get ready for surprises, debates, and a vibrant music scene searching for its unique voice in the 21st century!

#3. The Ziza Bafana Era: In a way of usurping the Goodlyfe era, dancehall music made a comeback, courtesy of Ziza Bafana and others, bringing back an era of non-stop partying where we just grooved to hard-hitting beats and never minded about lyrics or the hard-hitting patois punch lines in them. Too many lines like ‘pomini pomini’ never made any meaning, including to yours truly, but they were heart-throbbing! In haste, R&B-leaning artists added a pinch of Acrobat flair to their tracks to survive extinction, and hip-hop artists got confused and, as a result, started blurring genre lines. Come in, Gravity Omutujju: dude was daring enough to infuse dancehall vibes into Hip Hop, much to other Hip Hop artistes’ surprise and dislike, but to the fans’ pleasure. As a matter of fact, this risky move has, over time, earned him the crown of the crowd’s favourite performer to this day. This era was cemented by an all-star record, ‘Fe Tuliko’ by DJ Shiru, and this practice was becoming one way of endorsing a new generation. This era witnessed the ultimate and complete evolution and solidification of Eddy Kenzo as Uganda’s global representative. He clinched the BET Award, graced countless international stages, and secured several additional accolades. He now holds a place among the most decorated Ugandan artists in history.

This era gave us Khalifah Aganaga, Geosteady, King Saha, Fefe Bussi, Spice Diana, etc, and was broadly influenced by DJ Shiru, producer Dr Fizol, Avie Studios, and Jahlive audio & video studios. However, their rapid ascent was followed by a gradual decline (a decline which started in this period but was only noticeable some years later); this left a significant vacuum. Why? Because this generation had weakened the previous one, and yet itself had run feeble. Ugandan audiences started craving good music, and when they couldn’t get it, the Big 3 were there to save the day.

#4. The Fik Fameica Era: Hip-hop hit a very bad iceberg in this generation, and it is safe to say this was the last nail in its coffin. Hip-hop was downgraded from the US template to the template of the streets of Kampala, and the streets of Kampala were in love with dancehall, so hip-hop had to become dancehall to appeal. Fik Fameica was the guy who would do this. And he did it so well that Hip-Hop kinda ‘died’. The younger generation gravitated towards catchy tunes and rhyming lines over the lyrical depth that the GNL Zambas had groomed. Fik Fameica blended Gravity’s dancehall style with Nigerian influences, setting off a chain reaction that put Ugandan music on death row, having killed originality. In some way, Nigerian music genres began to infiltrate the Ugandan market, and we welcomed them with open arms, forgetting the Congolese problem that the Big 3 had dealt with, and we invited another visitor that shall forever be dreadful to the Ugandan music industry. Too late, Nigerian artistes had started trickling in to do major concerts and to harvest large cheques that should have gone into our artistes’ pockets. The influence of Nigerian sound has remained a permanent fixture in the Ugandan music scene to this day.

This era gave us Beanie Gunter, Dr. Brain, Da Agent, Ceasorous, Lil Pazo, Suspekt Leizor, Rickman, Grenade Official, Topic Kasente, Latinum, and was crowned by an all-star record: ‘ Guno Mulembe Gwaffe’. Producers Artin and TON were responsible for this era. It’s believed most of these artists have lost their glucose!

Many young music consumers in the current generation gravitate towards Fik Fameica, as do their dressing style and fashion, and this might be hard to reverse. Despite the continued presence of the Big 3 during this period, their influence seemed less prominent. Artists from the preceding generation, such as Gravity, gained momentum in this era through collaborative efforts. Essentially, artists from the earlier generation joined forces to prevent being overshadowed by the newer one.

#5. The Lockdown Era: Ah, the COVID-19 lockdown! A blessing in disguise for some. This era has seen the emergence of two distinct groups of artists: the soothing, melodious maestros on one side, and the gritty, no-nonsense ghetto hustlers whom major industry players had never given an opportunity. Liam Voice, Anknown, Victor Ruz, and Vyroota wow audiences with their raw talent, while Alien Skin, Fik Gaza, Tommy Dee, and Fixon Magna have captivated fans with their relentless ghetto drive.

The paradox with this current era is that the truly talented individuals often appear to progress at a slower pace and maintain a low non-celebrity profile, while the less gifted ones seem to rise quickly and gain significant attention despite their “lack of talent”. Consequently, Ugandans don’t experience the same level of satisfaction as they did during the Big 3 era, which keeps the Big 3 relevant even though they have mostly stepped back from the spotlight. However, there are a few artists in this era who fall somewhere in between these two extremes, such as Zex Bilangilangi and Daxx Vybez.

One positive aspect of this current generation is their embrace of distributing music to digital streaming platforms, which has led to the emergence of many independent artists and little need for gatekeepers like managers.

The unyielding, indifferent artists from the hardcore ghetto scene have been relentless in pushing their craft through uncontrolled media like TikTok and YouTube, eventually catching the attention of mainstream media. While not necessarily the most talented, there’s something about their raw character that evokes nostalgia for the Big 3 era, and fans have embraced them wholeheartedly. Now, they stand as the stars of the current music scene. These artists, while not possessing extraordinary talent, are marked by their unwavering consistency and hardcore approach, drawing comparisons to the era of Tupac Shakur. They have challenged the norms of the music industry, defying all gatekeepers, and seem to operate by their own set of rules, yet they still manage to succeed. Among them are, and have been, Alien Skin, Fik Gaza, Tommy Dee, Fixon Magna, Arimpa, Kid Dee, Record Elah Butida, Omutume Planet, and Eezy.

Between the Big 3 and the Goodlife eras, notable female artists like Juliana and Iryn Namubiru emerged. During the transition from the Goodlyfe era to the Ziza Bafana era, Team No Sleep spearheaded a music revolution, birthing prominent artists such as Sheebah, Pallaso, AK47, Kabako, Bakri, and others; hats off to manager Jeff Kiwa. Between the Goodlyfe and Fik Fameica eras, the Swangz Avenue label played an important role in professionalising music artists, paving the way for talents like Irene Ntale, Vinka, Winnie Nwagi, and Azawi to thrive. In the Fik Fameica era, several promising figures emerged, initially showing intentions of individually dominating the industry but eventually fading into the background alongside other established artists. Examples include Ykee Benda, John Blaq, and Fresh Kid, with Alien Skin currently experiencing a similar phenomenon. However, the emergence of another artist with Alien Skin’s charisma, consistency, and streetwise demeanour could potentially shift the dynamics once again, as history suggests.

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Understanding the 5 Eras of Ugandan Music (Part 1)
The Ugandan music industry, like any music industry elsewhere on our planet, is a fast-growing one and keeps making great strides. Come to think of it, artists are ‘licking’ delicious endorsement deals, and financial stability and social capital have become more attainable in recent years. Clap clap clap. That’s progress, and it brings a warm feeling. However, what is worrying is the trend of this growth; while the industry may be expanding in certain areas, there are numerous other dimensions in which we anticipate further growth (and this is a bigger problem even for Ugandan sectors that are state-run). It is a concerning fact that the path of this expansion, though admirable in length, its width, and height, is narrow; it’s a bit like watching a tree grow taller but neglecting its branches and roots. And the thought that nobody out there has made themselves useful to examine the realities of this growth is also tear-inducing. There’s not a single book on the market analysing these issues, despite the industry boasting many stakeholders and commentators.

The fact is: the music industry’s growth is increasing at a decreasing rate, and artists are stuck in a cycle of mediocrity that keeps the industry afloat but doesn’t propel it forward. The industry has failed to reach certain milestones, let alone surpass them. The industry is caged. Though this might not come out as an interesting concern, especially to the artistes, who are ironically its major stakeholders in it, it should be. At the least, some sober-minded stakeholders who have been watching this industry since the rise of the 90s should be. Perhaps someone from today’s generation reading this material might find these statements puzzling. But if you stick around, you might just harvest some wisdom that could benefit the next generation.

Well, I have conferred on myself the daunting task of exploring the uncharted music corners that no one has dared to examine. And that will be the flow of my writings. And boy, it’s going to be a series of enlightening pieces for artists, music managers, executives, and anyone invested in music. Since someone is here to read this, and not on TikTok laughing away, I will ensure that I use this unusual opportunity such that every word written here is not just a rumble but a useful statement. These are not entertainment thoughts, but thoughts on entertainment!

Now, providing a useful opinion on the Ugandan music industry and offering potent solutions to its challenges requires an understanding of the generations that have historically shaped it. There’s an academic word for that: Historical Growth Curve! Don’t run away, we are not going to draw graphs. It’s just an English word. Now let’s get to it. Through this curve or graph, we can grasp, at a deeper level, how this industry has fared and what it’s missed. You see, the music industry has evolved from one era to the next, with each either outdoing or, as we’ll see, underperforming the last. Let’s break down the generations or eras 5down:

#1. The Big 3 Era: Enter Jose Chameleone, Bobi Wine, and Bebe Cool (and Ragga Dee, depending on who you ask), the patriarchs of modern Ugandan music. These were (and, in the present politically charged environment, still are) bitter blood-spilling rivals who reshaped music consumption in Uganda in the 90s, steering fans away from Congolese soukous, Rumba, and Ndombolo to dancehall-inspired Afrobeat. These trailblazers, still fairly active today, set the stage for generations to come. Their era inspired the emergence of Red Banton, Emperor Orlando, Mad Tiger, Nubian Lee, Chagga, Master Parrot, Jamal Wasswa, to name a few.

#2. The Goodlyfe Era: The Big 3’s long dominance eventually gave way to a new wave of artists in the mid-2000s. Radio and Weasel, with their Goodlyfe Entertainment, in what seemed like a direct confrontation of the Big 3’s status quo, inspired a generation of artists. Their influence crowned talents like GNL Zamba, Gift of Kaddo, Vampino, Cindy, Navio, Sizzaman, KS Alpha, Mun* G, Big Trill, and Viboyo, among others. Their effect was combined with that of Swangz Avenue studio, now a full music label, when the studio was still finding its direction in the Ugandan music industry, to inject R&B, hip-hop and poetry into the Afrobeat-dominated scene, and this brought a shift towards those three genres. Similar to many other countries, Uganda has a cultural inclination towards consuming both local and American music, like one eats a main course and a dessert.

Consequently, the music scene in Uganda was heavily influenced by sounds from the United States, particularly listened to in high schools, shortly before the emergence of Radio and Weasel in 2007, which factor influenced the sound of artists in this era. The Benon Mugumbyas, Michael Rosses, the Vamposses, and Mowzey Radios of this era were cool kids who had gone to urbanised schools that glorified music from the United States, and that explains the westernised sound of this era. Radio and Weasel likely derived their name from Kanye West’s “Welcome to the Good Life.”

Additionally, artists from Jamaica who had influenced the Big 3 era were moving to the US, and their subsequent signing to US labels contributed to the Americanized sound in Uganda. And this new fusion produced results: Ugandan music started being exported outside East Africa, major award nominations and international performances started flooding the Pearl. We won’t shy away from the effect that this era had on Bebe Cool’s career: he joined Kenya’s Necessary Noize to form the East African Bashment Crew that gave him wings outside Uganda; only Jose Chameleone had been able to pull this off before. Save for a few Jose Chameleone collaborations with Tanzanian Bushoke, AY, and Professor Jay before this era knocked on the door, collaborations with foreign artistes were something Ugandan artistes were not much into (reasons for this can be brainstormed); the culture was only elevated during the Goodlyfe era.

Other artists like David Lutalo, Aziz Azion, Tonics, and Peter Miles emerged during this era, although their inspiration did not directly stem from Radio and Weasel. Eddy Kenzo, too, began to rise to fame during this time, but his unique sound, which was more local and non-Westernised, disqualifies him from this era; he belongs to the next.

The emergence of this era posed a threat to the dominance of the Big 3. However, the Big 3 managed to maintain their relevance through their never-ending rivalry, characterised by intense competition, physical fights, family wrangles, controversial stunts, and diss tracks. Even the Goodlyfe Crew, prodigal sons of one of the Big 3, Jose Chameleone, for some time found themselves mixed in the pot of rivalry, almost earning themselves a place among the Big 3. This era was cemented by an all-star record, ‘Mr DJ’ by Swangz Avenue studio, which featured almost all artists of the era.

The Big 3 and Goodlyfe Era laid the foundation, but a challenge emerged: can Ugandan music find its global voice without sacrificing its local soul? Join us in Part 2 as we navigate the complexities of the modern scene and explore the exciting future of Ugandan music.

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Azawi, a Ugandan singer-songwriter, released her second album, the Sankofa album by Azawi, on October 9, 2023. This album is a collection of 16 songs, all written by Azawi herself and produced by different producers in the industry.
The Sankofa album by Azawi is a mix of Afrobeats, pop, and R&B, and features collaborations with other artists, including Konshens from Jamaica, Sauti Sol & Bensoul from Kenya, Mike Kayihura from Rwanda, and Elijah Kitaka from Uganda, a new signee to Swangz Avenue.

The Sankofa album by Azawi opens with the spoken word intro track, “Sankofa Intro,” which sets the tone for the rest of the album. Azawi talks about the importance of learning from the past and using that knowledge to create a better future. This theme is evident throughout the Sankofa album by Azawi, as she sings about love, loss, hope, and empowerment.

The next song on the Sankofa album by Azawi, “Champion from Africa,” is a high-energy Afrobeats track that is all about being proud of who you are and where you come from. Azawi sings about how she is a “champion from Africa” and how she is proud of her heritage and believes in herself.

The Sankofa album by Azawi then takes a more mellow turn with the love song “Egaali,” about heartbreak and the pain of losing someone you love. However, it is also a song about resilience and finding the strength to move on.

The Sankofa album by Azawi continues with more love songs, including “Brand New,” “Njagala vibe” (featuring Kenyan band Sauti Sol), and “Harder,” which are all about the different stages of a relationship, from the excitement of a new romance to the challenges facing relationships.

The Sankofa album by Azawi also features a few more upbeat tracks, such as “Infinity” and “Elevated,” about the feeling of being in love and feeling on top of the world.

And finally, the Sankofa album by Azawi closes with “My God,” a song of gratitude and thanksgiving in which Azawi thanks God for all the blessings in her life, and the forgiveness of sins, and praises Him for His goodness to her.

Watch the Sankofa Album by Azawi on YouTube (Playlist)

The production of the Sankofa album by Azawi is excellent, thanks to the work of Producer Artin, GroovyWorld, Steven Kigozi (Also called Steve Keys), Martin Musoke, and Banga Boy (Credited as Sekajja Marrick). Marrick in particular produced most of the tracks on the Sankofa album by Azawi, and his contribution is evident on the album. Our very own Nymy Media created the lyric visualizer for Azawi’s Sankofa Album.

The producers did a great job crafting the Sankofa album by Azawi, capturing Azawi’s musical journey, and creating a vibrant blend of African sounds, instruments, and modern production techniques. The overall sound is polished and professional, yet it still maintains a warmth and authenticity that truly reflects the album’s artistry.

In short, the Sankofa album by Azawi is a well-rounded album with something for everyone. Azawi’s vocals are smooth and soulful as always, and the production is excellent. The album’s fresh African-modern sound will surely appeal to both African and global audiences, and it is sure to be a hit. So what are you waiting for? Listen to Sankofa today!

Stream; Sankofa (Album) Azawi