The Directorate of Criminal Investigations (DCI) confirmed that those detained include Energy Principal Secretary Mohammed Liban, energy regulator chief Daniel Kiptoo, Joe Sang, and Energy Ministry chief economist Joseph Wafula.

Officials said the suspects were picked up from their homes and are being investigated under economic crimes laws for alleged failures to maintain proper records, stocks, and reserves of petroleum products.

The probe follows a government-to-government (G2G) fuel shipment flagged for elevated sulphur levels, which exceeded Kenya’s regulatory standards.

A quality assurance manager at the Kenya Pipeline Company halted distribution of the consignment and escalated the issue, effectively removing part of the supply from the market.

Authorities now believe that the decision to withhold the shipment contributed to recent fuel shortages, which had initially been attributed to geopolitical tensions in the Middle East, particularly relating to Iran.

Energy Cabinet Secretary Opiyo Wandayi previously ordered oil marketing companies to release hoarded fuel, warning that withholding stocks is illegal and breaches licensing obligations.

Government data shows that Kenya currently has about 16 days of petrol supply and 19 days of diesel, while jet fuel and kerosene stocks stand at roughly 49 days.

To stabilise the market, authorities plan to deploy KSh 17 billion ($130 million) from the petroleum stabilisation fund over the next three months to moderate pump prices.

The case is being closely monitored across East Africa, where landlocked countries such as Uganda rely heavily on Kenya’s fuel import and transit infrastructure.

Regional stakeholders have invested in Kenya’s pipeline system in recent years, highlighting its strategic importance for energy security.

Officials have also warned that escalating Middle East tensions could affect future fuel prices, although current shipments are largely unaffected.

The detained officials had not publicly commented on the allegations at the time of publication.

The post Kenya arrests senior energy officials over fuel supply, quality probe appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

The government is finalising a series of Revenue Enhancement and Compliance Measures for the 2026/27 financial year, targeting an additional Shs4.8 trillion. Of this, UGX2.3 trillion is expected from new tax policy changes, with the remainder to be raised through improved enforcement by the Uganda Revenue Authority (URA).

The reforms form part of a broader fiscal strategy anchored in the Public Finance Management Act, as Uganda seeks to reduce reliance on borrowing and strengthen domestic revenue mobilisation amid mounting debt obligations.

What the new tax measures propose

Key proposals include:

• Raising Pay-As-You-Earn (PAYE) to 40% for monthly incomes above UGX 10 million, up from 30%
• Increasing the tax-free threshold from UGX 235,000 to UGX 335,000
• Adding UGX 200 per litre on fuel excise duty
• Tripling sugar excise duty from UGX 100 to UGX 300 per kilogram
• Expanding taxes on property transfers, capital gains, and selected consumer goods
• 6% withholding tax on public entertainers

Finance State Minister Henry Musasizi has defended the proposals as necessary to sustain government expenditure.

Uganda’s 2026/27 budget is projected at UGX 84.209 trillion, with UGX 44.5 trillion expected to come from tax revenues.

Debate over fairness and economic impact

While some of the measures target higher-income earners, economists and lawmakers warn that indirect taxes, particularly on fuel and essential goods, could have the broadest impact.

Kira Municipality MP Ibrahim Ssemujju Nganda argues that such taxes are often less visible but more burdensome.

“For every litre of petrol, the government already charges between Shs1,350 and Shs1,550; the passenger ultimately pays,” he said.

Uganda’s tax base remains narrow. Of approximately 5.2 million registered taxpayers, only 2.5 million are active, with about one million salaried workers contributing through PAYE.

“When people see deductions on their payslips, that is when the pain becomes real,” Ssemujju said, warning that higher PAYE rates could significantly erode disposable incomes.

Amolatar Woman MP Agnes Atim Apea echoed concerns about equity, noting that Uganda’s tax-to-GDP ratio remains relatively low.

“Our tax-to-GDP ratio is still about 13–14%, which is low. But we must ask: who are we taxing, and at what cost to livelihoods and businesses?,” she said.

She also raised questions about tax exemptions, arguing that they often favour larger or foreign firms, leaving local enterprises at a disadvantage.

Rising prices and public concern

Civil society organisations warn that increasing levies on fuel and basic commodities could trigger a ripple effect across the economy, driving up the cost of goods and services.

Transparency International Uganda has cautioned that the timing of some proposals could worsen existing economic pressures.

David Kizito of the organisation said: “Increasing fuel taxes during global supply disruptions will raise pump prices. In a liberalised market, government cannot control the final cost.”

Higher excise duties on essentials such as sugar, he added, risk disproportionately affecting low-income households.

Accountability and public trust

Beyond the tax rates themselves, public debate is increasingly focused on how government revenues are spent.

Ssemujju pointed to rising recurrent expenditure, including administrative costs such as vehicles, fuel, and allowances, even as public services remain under strain.

“The issue is not just collecting taxes, it is whether taxpayers see value for money,” he said.

Many Ugandans say the proposed measures come at a difficult time.

“The biggest pain is increasing taxes without tackling corruption or reducing government expenditure,” said Lillian Aber.

James Obed added: “Instead of lowering the cost of materials like cement, taxes are increasing while wastage continues.”

Others questioned whether policymakers are shielded from the real-life impact of such decisions, calling for spending cuts before new taxes are introduced.

Debt pressure and economic outlook

Uganda’s tax reforms, grounded in the Income Tax Act and the Excise Duty Act, must still be debated and approved by Parliament.

Analysts note that the proposals combine progressive elements, such as higher taxation on top earners, with regressive features that affect all consumers.

With public debt estimated at nearly UGX 130 trillion and interest payments consuming an increasing share of revenue, pressure on the government to expand its tax base is unlikely to ease.

The World Bank has previously warned that four in five Ugandan businesses fail within five years, citing high taxation and limited access to affordable credit among the contributing factors, raising further concerns about how the new measures could affect private sector growth.

The post Uganda’s new tax push sparks backlash as cost-of-living pressures mount appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

Speaking to local publication Vivid Voice News on Monday afternoon, Tuju said he took evasive action after realising he was being trailed, eventually abandoning his vehicle to avoid detection.

“My family is very traumatised… and I consider myself blessed because there are many Kenyans in unmarked graves,” he said.

He explained that he diverted onto a road where it would be difficult for the pursuing vehicle to follow, before leaving his car behind to mislead those tracking him.

Tuju’s disappearance had triggered widespread concern, with his family reporting that he had gone missing on Saturday while en route to a scheduled radio interview.

His mobile phone was switched off, and his vehicle was later found abandoned with hazard lights on in the Karen suburb of Nairobi.

Authorities had launched investigations and appealed to the public for information regarding his whereabouts.

Political reaction and public concern

The incident quickly drew political attention, with opposition leaders raising fears of a possible abduction.

Kalonzo Musyoka welcomed news of Tuju’s reappearance but warned of a broader pattern of insecurity.

“We thank God that our brother is alive and well,” he said.

“The truth of the matter is that there is an abduction squad in town.”

“Let everybody calm down and adhere to the principles of constitutionalism and the rule of rule,” he added.

Tuju himself referenced previous cases of enforced disappearances in Kenya, suggesting this influenced his decision not to seek help from law enforcement agencies.

Ongoing legal disputes

Beyond the disappearance, Tuju remains entangled in a long-running legal battle over properties linked to his company, Dari Limited.

The dispute involves lenders seeking to recover debts exceeding $15 million tied to assets in Nairobi. Courts have previously rejected several of his attempts to halt the auction process, although recent orders have temporarily blocked the transfer of the properties pending further hearings.

Tuju has also alleged that security officers previously raided his business premises in Karen, forcibly removing staff and taking control of the property, claims the government has not publicly addressed.

His lawyer, Paul Nyamodi, had earlier indicated that Tuju reported being followed by an unmarked vehicle shortly before his disappearance.

Tuju’s case comes amid growing public debate in Kenya over alleged enforced disappearances and the use of unmarked vehicles in security operations.

Rights groups have repeatedly called for accountability and transparency, warning that such incidents risk eroding public trust in state institutions.

While Tuju is now safe, the circumstances surrounding his disappearance, and the broader allegations he has raised, are likely to remain under scrutiny in the coming days.

The post Kenyan ex-foreign minister Raphael Tuju resurfaces after abduction fears appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

The launch marked the start of the 107-kilometre Kisumu–Malaba segment, a crucial link in the planned nearly 1,000-kilometre corridor stretching from the Port of Mombasa to the Ugandan border.

This extension aims to complete a seamless transport route connecting Kenya’s coast to Uganda and beyond. Once linked to Uganda’s planned Malaba–Kampala railway, the line is expected to become a backbone for East African trade.

Coverage of the groundbreaking was initially reported by Vivid Voice News our sister publication under the editorial leadership of Michael Wandati, who highlighted the transformative potential of the project for regional logistics and trade.

Officials project that the completed Nairobi–Kampala corridor could reduce travel time from about 14 hours to just four, while cutting freight costs by up to 35 percent, offering a major boost to efficiency and regional competitiveness.

Speaking at the ceremony, President Ruto described the project as transformative:

“It is in moments such as this… that the destinies of our people, our cities, and our nations are shaped.”

The SGR extension has faced several years of delays, mainly due to financing challenges after China reduced infrastructure lending under the Belt and Road Initiative. Construction had stalled more than 350 kilometres short of the Ugandan border, raising concerns about the railway’s long-term viability.

Kenya has since adopted a new funding approach, including revenue from a railway development levy, to ensure the project’s completion.

The Kenya segment from Naivasha through Kisumu to Malaba is estimated at over $5.5 billion, while Uganda’s connecting line to Kampala is projected at about $3 billion.

The modern SGR draws inspiration from the historic Uganda Railway, built over a century ago to link the Indian Ocean to the interior. That line was once the economic backbone of the region, supporting the growth of cities such as Nairobi and Kisumu.

However, decades of underinvestment, ageing infrastructure, and the shift to road transport led to its gradual decline. The SGR aims to replace the old metre-gauge system with a faster, more efficient network aligned with the East African Community’s broader railway master plan.

Economic potential and regional stakes

According to Vivid Voice News reporting by Michael Wandati, the SGR is expected to unlock economic opportunities across western Kenya and the wider Great Lakes region by:

• Lowering transport costs for bulk goods
• Improving access to export markets
• Streamlining supply chains
• Supporting industrialisation along the corridor

Nearly 70% of cargo handled at Mombasa is destined for Uganda and other landlocked countries, underlining the corridor’s strategic importance.

For Uganda, the enhanced rail connectivity is critical to reducing import and export costs, which currently rely heavily on slower and more expensive road transport.

President Museveni has emphasised that delays in completing the railway have limited Uganda’s access to seaports, increasing costs for businesses.

Regional competition and strategic significance

The project also highlights competition over trade routes in East Africa. President Ruto has warned that Kenya’s position as the primary gateway to the region is not guaranteed, especially as neighbouring countries invest in alternative corridors.

Completing the SGR link to Uganda strengthens Kenya’s role as a logistics hub for East and Central Africa, connecting markets in Rwanda, South Sudan, and the Democratic Republic of Congo.

If completed as planned by around 2028, the Kenya–Uganda SGR link will represent a milestone in regional infrastructure development and serve as a model for cross-border cooperation and sustainable infrastructure financing.

The post Kenya and Uganda launch major SGR link to boost regional trade appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

Speaking during an engagement focused on promoting locally made products, Mr Museveni described content creation as a modern form of sales promotion that helps connect producers to consumers, particularly through social media platforms.

“What you are calling content is sales promotion for people to know about goods and people buy it. That should be supported, especially if you are promoting local products. Then you become a useful partner,” he said.

The President encouraged content creators to package Ugandan goods professionally for both domestic and international markets, adding that government backing would prioritise structured and organised groups.

“If you have got groups doing that, we shall support them,” he said.

Recognising the digital economy

President Museveni noted that the practice of promoting products through content is not new but represents an evolution of traditional marketing models. In earlier decades, companies relied heavily on radio and television advertising to build brand awareness.

He cited Nytil, a textile product manufactured in Jinja during the 1960s, as an example of how local brands were aggressively marketed across East Africa through conventional media.

“In the chain of wealth creators, a layer of operators has come up to use social media as an easy way of communication to package and present products to the consumers. That is useful,” Mr. Museveni said.

His remarks signal growing official recognition of Uganda’s digital creative economy, which has expanded rapidly in recent years as smartphone penetration and internet access have increased.

Platforms such as TikTok, YouTube, Facebook and Instagram have enabled Ugandan creators to monetise content through advertising partnerships, brand endorsements and cross-border marketing.

Strengthening the sector through a SACCO

The proposed Shs5 billion capital injection into a dedicated SACCO aims to provide structured financial support to organised content creators.

SACCOs in Uganda typically offer members access to credit, savings mobilisation and investment opportunities, tools that could help creators professionalise operations, invest in production equipment and expand their audience reach.

Government officials have increasingly emphasised the creative and digital industries as part of broader economic transformation strategies, particularly in tackling youth unemployment.

Uganda’s population remains one of the youngest globally, with a significant proportion engaged in informal or digital income-generating activities.

Industry observers say formal financial inclusion mechanisms could stabilise earnings in a sector often characterised by irregular income streams.

Economic context

The creative economy is gaining prominence across East Africa, with governments exploring policy frameworks to regulate digital monetisation, intellectual property protection and online taxation.

Uganda has previously introduced measures affecting social media usage, underscoring the complex relationship between regulation and digital entrepreneurship.

Museveni’s latest pledge positions content creators within the broader national development agenda, framing them as partners in promoting “Buy Uganda, Build Uganda” initiatives and strengthening domestic value chains.

If implemented effectively, the SACCO could serve as a pilot model for supporting emerging digital sectors through cooperative financing structures.

The post Museveni pledges Shs5 billion boost for content creators’ SACCO appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

From his earliest influences to the inception of Lot Fire Records, Bash Luks takes us on a journey through the intricate layers of his creative process. Get ready to immerse yourself in the unique blend of sounds that shape his artistry. Whether you’re a dedicated music enthusiast, an aspiring artist, or simply curious about the magic that goes into creating music, this interview promises to be an engaging and inspiring experience.

Join us as we embark on this melodic odyssey with Bash Luks and uncover the passion, dedication, and creativity that propel this remarkable artist forward. Get ready to explore his insights, relive his experiences, and discover his aspirations in this exclusive interview, only on the Kampala Dispatch.

KD: For those who are not familiar with you, who is Bash Luks? Tell us a brief background about yourself and who inspired you to take on the music career?

I am Bashir Lukonge, professionally known as Bash Luks, an artist from Kampala, Uganda, skilled in various creative fields such as singing, songwriting, acting, writing, and music production. I am also the visionary behind Lot Fire Records, a prominent Ugandan record label.

I was born on May 11, 1993, at Mulago Hospital in Uganda to Mr. Isima Matovu and Ms. Rosemary Nannyonga. My educational journey started at Butega Church of Uganda Primary School, followed by studies at St. Joseph’s Secondary School Busega and St. Matia Mulumba Secondary School in Kassanda District.

My artistic inspiration comes from a wide range of influential figures in the music industry, including Madoxx Ssemanda Sematimba, Eddy Kenzo, Bebe Cool, Jose Chameleon, Bobi Wine, and the late Mowzey Radio, among others. These artists have profoundly impacted my artistic vision and journey.

KD: How would you describe your music to people who are just getting familiar with you?

I specialize in a diverse range of music genres, including Afrobeat, Popular Music, RnB, Afropop, and Dancehall, with notable influences from elements of Reggae as well. The songs that I was exposed to during my formative years have played a pivotal role in shaping my musical inclinations and preferences.

KD: Who are some of the artists you have collaborated with and who are you currently working with?

I’ve had the privilege of collaborating with the talented Ugandan musician, Jim Siizer, allowing me to explore new musical styles. Currently, I’m excited about my ongoing collaboration with emerging artist Shaxx Mc, promising a dynamic fusion of R&B, Pop, and alternative sounds that will push artistic boundaries.

As an artist, I continually seek opportunities to collaborate with renowned musicians who inspire and challenge me creatively, with more exciting collaborations on the horizon. Stay tuned for updates!

KD: Who produces your music and how many songs/albums do you have to your name so far?

I’ve had the privilege of collaborating with BX On Da Beat, a highly respected producer in the music industry affiliated with Axtra Nation.

In my impressive discography, one standout studio album is titled ‘The Last Born,’ which was released on March 2, 2023. This album showcases captivating instrumental tracks like; “Drum” (Feat. African Tribal Orchestra & Lot Fire Records) and “Love” (Feat. Samie & Lot Fire Records). Thanks to its remarkable composition and artistic expression, ‘The Last Born‘ is anticipated to be one of the most captivating instrumental albums of the year. In addition to this remarkable album, I’ve also released numerous other songs, with a total of over nine tracks spanning across my albums and singles.

KD: Please explain your creative process

As a musician and songwriter, my creative process is a well-defined series of steps that enable me to craft original and engaging content. It all begins with the gathering of inspiration from various sources, including personal experiences, emotions, and external influences like nature or art. This initial step lays the foundation for my creative ideas.

Subsequently, I dedicate time to experimenting with different musical elements, including melodies, harmonies, rhythms, and lyrics. This experimentation phase is where I explore various combinations and arrangements, always in search of a unique and captivating sound. During this stage, I trust my intuition and rely on my musical instincts to let the creative flow take its course.

Once a solid musical concept takes shape, my focus shifts to its development. This involves refining the structure, dynamics, and instrumentation, while carefully considering how each element contributes to the overall mood and message of the piece. Collaboration with other musicians or producers often comes into play, bringing fresh perspectives and enhancing the creative process.

Following the creation of a draft, I step back and engage in a critical evaluation of the composition. This critical listening phase allows me to identify areas for improvement and fine-tuning. I analyze the pacing, transitions, and overall coherence of the piece, remaining open to making changes and adjustments to ensure that the final product aligns with my artistic vision.

Finally, the composition comes to life through performance or recording. This stage involves rigorous rehearsals, practice sessions, and the capturing of the music’s essence. Whether I am performing live on stage or recording in a studio setting, my goal is to deliver a captivating and authentic rendition of my creative work.

In summary, my creative process as a musician is a dynamic journey that encompasses inspiration, experimentation, refinement, and performance. It allows me to express my unique musical voice while forging meaningful connections with audiences on a profound level.

KD: Who handles your daily business activities like bookings, promotions etc?

Within the scope of my daily business operations, tasks like bookings and promotions are efficiently managed by a dedicated professional team at Lot Fire Records. This team plays a crucial role in overseeing my professional affairs, working collectively to maintain a well-organized schedule, secure performance opportunities, and effectively promote my music to a wider and more diverse audience.

KD: What do you find to be the most challenging part of being an up-and-coming musician in Uganda?

As an emerging artist, my primary challenge revolves around effectively promoting my work. Nevertheless, I am steadily surmounting this obstacle by proactively taking measures to self-promote, with valuable support from Lot Fire Records.

KD: What would you change about the music industry in Uganda?

As an emerging artist in Uganda, I would focus on the following improvements for the music industry:

• Support for emerging artists: I would Advocate for increased support, mentorship, and funding for up-and-coming musicians.
• Fair compensation: I would establish fair payment and royalty structures to incentivize creativity.
• Copyright protection: I would strengthen and enforce copyright laws to protect artists’ intellectual property.
• Accessible distribution: I would develop user-friendly music distribution platforms for wider reach.
• Professional development: I would offer workshops and networking opportunities for skill enhancement.
• Collaboration: I would encourage unity and collaboration among artists for collective growth.

These changes aim to create a thriving and supportive music industry in Uganda, benefiting artists and showcasing the country’s musical talent.

KD: When was your big career breakthrough?

In 2022, my career made a significant stride with the release of my debut track, “Nkubwamu” (Feat. Jim Siizer), produced in collaboration with Lot Fire Records. Throughout my musical journey, I’ve become known for crafting uplifting and socially conscious compositions that inspire and advocate for important causes.

KD: What is your dream project?

My aspiration is to become a recognized artist and music executive. I have several exciting projects in progress, including my singles ‘Nkubwamu‘ featuring Jim Siizer and ‘Magical,’ also featuring Jim Siizer, available in both audio and visual formats. You can find them on my Official Artist YouTube Channel and various other social media platforms.

KD: What’s the coolest promotion you’ve ever been involved with?

I’ve been part of some remarkable promotions in my career, but one stands out as particularly exceptional. It occurred during a music festival where I was performing. The organizers collaborated with a renowned fashion brand to create an immersive “Style Lounge” where attendees could enjoy live music and engage in fashion-related activities.

A highlight was our unique collaboration between myself and the brand, resulting in limited edition merchandise inspired by my music and style, exclusively available at the Style Lounge. The promotion featured interactive installations allowing attendees to try on virtual outfits using augmented reality, combining music, fashion, and technology to create an unforgettable experience.

This promotion not only showcased my talent but also connected with fans who shared a passion for music and fashion. It was a thrilling fusion of art forms, leaving a lasting impact.

KD: What else fascinates you besides music?

I’m drawn to writing books for several compelling reasons. It offers a platform to channel creativity, express thoughts coherently, and share knowledge. Through books, I aim to positively influence a broad readership. Additionally, the intellectual stimulation and personal fulfillment derived from researching and crafting a book are immensely gratifying. In essence, my passion for storytelling, connecting with readers, and a deep appreciation for the written word drive my interest in writing books.

KD: What’s one thing that would surprise many people to learn about Bash Luks?

I’m entirely self-taught in singing, which sets me apart from many artists. Instead of formal vocal training, I’ve dedicated countless hours to studying and emulating my favorite artists, developing my unique style through trial and error. I believe that raw talent and unwavering dedication can be as impactful as formal training, making my journey as a self-taught singer challenging yet incredibly rewarding. It has allowed me to discover my true potential and express myself authentically through music.

KD: What is the one truth that has held constant throughout your music career?

Passion is the constant driving force throughout my music career. It ignites my creativity, fuels my dedication, and motivates continuous improvement. It inspires me to explore new genres and connect deeply with my audience through emotionally resonant performances. Regardless of industry changes or challenges, my unwavering passion keeps me on this unpredictable journey.

KD: What did you want to be when you were growing up?

Uganda’s most widely known musician and music executive, with a big number of fans, skyrocketed to fame with hit songs that go viral on YouTube and other social media platforms, accumulating millions of views. My illustrious career marked by winning numerous prestigious awards, including a Grammy Award, BET Award, MAMA Award, Billboard Music Award, All African Music Awards, MTV Music Video Award and a plethora of other esteemed accolades.

KD: Does Bash Luks have any advice for up-and-coming artists out there?

As an artist, my advice to young musicians is this: Stay true to your unique voice and embrace your individuality, don’t fear taking risks and exploring different genres, persevere and stay dedicated in the face of industry challenges, prioritize growth and improvement through regular practice, surround yourself with inspiring peers, be open to feedback and use it as a chance for growth, stay humble, keep learning, and never lose your passion for music.

With dedication and belief in yourself, you can achieve your dreams in the music industry. Embrace challenges, be true to yourself, and let your passion guide you to success.

KD: “Local, local, local” has always been radio, television and print mantle, how do you rate Uganda’s media involvement in promoting artistic local content?

Uganda’s media plays a vital role in promoting local artistic content. Radio stations, television channels, print media, and social platforms have embraced the “local” mantra, offering artists valuable exposure.

Radio stations frequently feature local music, conduct artist interviews, and organize live performances. Television showcases Ugandan talent in various creative forms, preserving cultural heritage. Print media covers local artists and their achievements. Social media enables direct artist-fan engagement.

While Uganda’s media has made commendable efforts, there’s room for improvement. Continued collaboration between media outlets and artists can enhance visibility nationally and internationally. Embracing the “local” mindset and supporting homegrown talent across different mediums will further promote Uganda’s vibrant creative landscape.

KD: What would your friends say they appreciate the most about Bash Luks?

My friends often highlight that Bash Luks’ uniqueness extends beyond his music. It’s his sincere concern for both friends and fans that sets him apart. He takes time to personally connect with them and wholeheartedly values their support. This genuine gratitude and humble demeanor resonate with people, making them feel genuinely valued and appreciated.

KD: Where do you find your inspiration for song ideas?

As a professional musician and songwriter, Bash Luks draw inspiration from diverse sources. I seek creativity in personal experiences, observations, and various art forms. Other musicians, past and present, also inspire my work. My aim is to craft original and meaningful songs that connect with listeners.

KD: What do you find to be the most challenging part of being an up-and-coming musician? 

As an emerging artist, my primary challenge is promotion, but I’m addressing it proactively.

KD: How do you think Ugandan up-and-coming musicians can be supported in the industry?

Support for up-and-coming Ugandan musicians can be provided through:

• Financial support: Grants, scholarships, and sponsorships to cover music-related expenses.
• Training and education: Workshops, mentorship, and educational programs.
• Access to studios: Affordable access to recording studios and production resources.
• Promotion and exposure: Radio airplay, streaming platforms, live performances, and industry events.
• Networking: Connecting musicians with industry professionals for collaboration and mentorship.
• Copyright protection: Education on copyright laws and royalty collection.
• Infrastructure development: Investment in music venues, rehearsal spaces, and music schools to foster talent growth.

These measures create a supportive environment for emerging Ugandan musicians to thrive and contribute to the country’s music scene.

Read Also: Exclusive interview with Sanaipei Tande 

KD: Recently, there have been a music battle between Sheebah Karungi and Cinderella Sanyu alias Cindy, as who was the winner of the battle, the debate still rages on — what is your take on this? Are Music battles worth it for the industry? If you were challenged in such a music battle, what would you say?

I agree with my fellow musician, Big Tril. The Cindy and Sheebah battle may soon fade from memory, but a collaboration between them could make a lasting impact and transform the music industry. Let’s shift our focus back to what truly matters: the music.

KD: What is your view about musicians joining politics? Well established musicians are currently turning away from music to politics. Do you think the music industry can stand without the likes of these stars? Do you want to emulate a similar trend?

Musicians entering politics can be a positive way to leverage their influence for change, but it requires genuine passion and understanding of the issues. While established musicians may shift to politics, the music industry remains resilient and dynamic, with emerging talents. Music’s power transcends individual stars, ensuring the industry’s continued growth. Whether Bash Luks follow a similar path depends on my genuine interest in politics and belief in its potential for meaningful impact. Any foray into politics should stem from sincere conviction, not opportunism.

KD: What advice would you give to female artists wanting to pursue or currently pursuing a career music? Do you think it’s easy for up-and-coming female artists to succeed in the industry than their male counterparts? And why?

My valuable advice for female artists in music: Believe in yourself and embrace your uniqueness, network, collaborate, and engage with industry professionals. Continuously improve your musical skills and versatility, develop a strong personal brand for recognition, utilize social media and online platforms strategically and seek mentorship from experienced individuals in the industry.

Success for female artists varies, with challenges like gender bias and unequal opportunities. However, talent and determination are key, and the industry is evolving with more support for female artists. Persistence, mutual support, and advocating for equal opportunities are crucial for female artists to succeed.

KD: There is nothing wrong with positivity especially in today’s day and age. Apart from yourself, is there any fast-growing upcoming Ugandan music artist that you recommend we keep an eye out for?

Jim Siizer is an up-and-coming Ugandan musical artist known for hits like “Okikola Otya” and “Kweyagala.” His music is gaining global popularity, and he’s known for his unique style and captivating stage presence. With a growing fan base, Jim Siizer is poised for a successful career and has the potential to become a prominent name in the music industry.

KD: Regarding your music, you’ve put out a few singles, would you say there is a particular focal point? Is there any certain sound or topic that you are trying to get across, or you are still trying to develop your sound?

As an artist, I’m currently in the process of developing my sound and experimenting with various genres and themes. While there isn’t a specific focal point in my music just yet, each single I release represents a different facet of my musical journey, allowing me to explore various emotions and perspectives. I believe in embracing the creative process and allowing my sound to evolve naturally, which enables me to continually grow as an artist and connect with listeners on a deeper level. Each release contributes to the overall development of my unique musical identity.

KD: What are the new songs that the fans should anticipate you to perform?

I’m currently working on exciting new projects that I can’t wait to share with my fans. I’m particularly thrilled about performing my singles ‘Nkubwamu‘ and ‘Magical‘ featuring Jim Siizer. These songs have the potential to deeply connect with my audience and leave a lasting impact.

KD: Are you a fan of social media? Does it play a role in your daily life, or is it more or less just for marketing purposes?

Social media has become a vital part of our daily lives, impacting communication, connection, and information sharing. It serves as a platform for staying connected, discovering interests, and accessing news globally. Beyond music marketing, social media has transformed how businesses engage with consumers, enabling personalized advertising. Its influence is pervasive, touching various aspects of modern life.

KD: Is there anything else you would like to share with your fans?

I want to express my deep gratitude to all my fans for your unwavering support. Your love for my music fuels my creativity and motivates me to push boundaries. Your passion for music creates an unbreakable bond between us, and I promise to continue creating music that speaks to your soul. Thank you for being there every step of the way, and let’s keep chasing our dreams together through the power of sound.

The post Exclusive Interview: Exploring Bash Luks’ musical journey appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

The affected are Patrick Ocan, the Apac Municipality Member of Parliament, Elioda Tumwesigye, Sheema Municipality, Tarsis Rwaburindore Bishanga, Ibanda Municipality, Hashim Sulaiman, Nebbi Municipality, Asuman Basalirwa, Bugiri Municipality and Peter Abrahams Lokii, Kotido Municipality.

The unanimous judgment stems from an application filed by the former Bufumbira East MP, Eddie Kwizera challenging the legality of a number of constituencies created after the 2016 general elections. Kwizera argued that the six constituencies were illegally created by parliament and asked court to declare them null and void.

He also asked court to have them expunged from government records, nullify the election of the areas MPs and direct them to refund taxpayers’ money.

In his application, Kwezira argued that the resolutions of parliament creating the contested constituencies violated Articles 61(c) 63(2) and 91(1) of the Constitution. Articles 61 and 63 prescribe how Constituencies are to be created while Article 91(1) mandates parliament to make laws through bills passed and assented to by the President.

Kwizera said that parliament could only create constituencies through an Act of Parliament and a mere resolution. Now, in their judgment delivered on Friday, December 27, 2019, the constitutional court justices, noted that the elections conducted in the new municipalities were premature, null and void because there were no vacant positions.

“In the premises, I would hold that the elections conducted in the sixth affected municipalities mentioned in this judgment are not elections for an office of Member of Parliament existing under the Constitution because they are not general elections or by elections.

Secondly, the seats contested for did not have a vacancy and were already represented by the elected MPs in the general elections of 2016,” said Justice Christopher Madrama.

He noted that the parliamentary elections conducted in Apac, Sheema, Ibanda, Nebbi, Bugiri and Kotido municipalities for non – existent vacancies or seats cannot stand. Madrama said that Article 61 (1) (b) of the Constitution places a duty on the Electoral Commission to conduct elections in accordance with the Constitution and that it was its duty to ensure that each county is represented in Parliament as stipulated by the Constitution only where there is a vacancy.

Vacancies would occur in the municipalities of Apac, Sheema, Ibanda, Nebbi, Bugiri and Kotido with the necessary demarcation by the second respondent and would be available for contest in the next general elections upon dissolution of the sitting,” he added.

The Judges ordered that no seats should be created by creating more constituencies after the general elections have been held, except in accordance with the Constitution.

Justice Madrama says that the Constitution envisages that any vacancies created by division or creation of more constituencies or alteration of boundaries of constituencies shall take effect in the next general elections.

He ordered that Electoral Commission within one year files in court evidence of the prescription of Parliament dividing Uganda into the number of constituencies pursuant to the mandate exercised by Parliament under Article 294 and 63 (1) of the Constitution for the next general elections.

The court further directed the Commission to file evidence in court indicating that it has demarcated the boundaries of constituencies in accordance with the prescription of Parliament under Article 63 at least 10 months before the next general elections.

The Judges noted the fact that the affected MPs were not heard in the petition but observed that their right to a hearing wasn’t violated in anyway because what was asked of court was whether the office of MP in the contested municipalities exists in terms of a vacancy under the Constitution before the next general elections.

Hashim Sulaiman, the Nebbi Municipality MP, said he had just received the news about the nullification of their elections, but noted that the judgement is against government and particularly EC, which is in charge of the election and declined to comment further. Asuman Basalirwa, the Bugiri Municipality Member of parliament, said they were condemned unheard.

He also said since government created a constituency it couldn’t remain vacant without representation. However, said they remain in parliament, since the Commission and government have indicated their decision to appeal the judgement.

“In case they don’t i will do it on myself because of the time and resources we spent in the elections,” he said. The other justices of the constitutional court include Kenneth Kakuru, Cheborion Barishaki, Fredrick Engonda-Ntende and Christopher Madrama.

The post Why Ugandan court kicked out six MPs out of Parliament appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

And since beefing/battling reveals lyrical prowess and comic sharpness that leaves the culture entertained and opponents satisfied with a good match, Kampala Dispatch’s Michael Wandati in an exclusive interview, reveals the brewing beef between the two Dandora (an eastern suburb in Nairobi, Kenya) rappers Kingsko and G. Rongi, who have decided to take their lyrical feuds/feelings to another level.

Who is Kingsko Ligih and G. Rongi?

“I am a revolutionary MC, a social entrepreneur, G.Y.R founder member, and Chief Communications Director at Young Africans for Africa Organization. Basically I’m the only different hip hop artist, Kenya Music Co-operative (KEMCOOP) fraternity can concur. I’ve been representing Dandora since birth, nothing can stop that,” said Kingsko.

For G. Rongi, family and responsibility comes first then everything else follows.

“I am a father, teacher and an artist. I represent Dandora city, my call sign is Mr D but currently am based in Paris, so I also have to represent code plus thirty three (+33), that’s where am representing right now,” replied G. Rongi, whose ensuing social media rant has led to notoriety.

Both Kingsko and G. Rongi are well known for their hard-hitting lyrical content that is honest and effortless when behind the microphone.

The writing process of Kingsko’s music, according to him, involves the balancing of inspiration and reality that himself believes in. His life experience defines his lyrical content.

“No time for faking like most of these self-proclaimed kings,” rubbished Kingsko while responding to his supposed detractors who he claims; “are trying to match his level.”

On the other hand, without breaking a sweat, G. Rongi’s writing process involves focusing on the message he wants to address. The nostalgic rapper boasts of experience, reminding critiques of his 15 years of hard-work experience in the rap industry.

“It’s about knowing what you want to achieve out of your talent, what you want to communicate, and how far you can push your limits. Honesty helps me a lot because what goes around comes around. Most artists don’t know that the words they put out there, will always come back to haunt them,” said G. Rongi.

“I used to be negative with everyone and anyone against my thoughts, but now, I am kind of open-minded and I can think freely without assuming any tittles. It’s more than hip hop — it’s all about educating the society for the betterment of the present and future generation,” G. Rongi added.

G. Rongi’s regret is that today’s generation is being affected by greed, jealousy and political divisions which are taking the society backwards.

“The gap is getting bigger but that doesn’t mean we lose hope or not be the best in what we do. I guess my rap skills are shaped by society, and it’s a blessing to find happiness in grievance,” said G. Rongi in conclusion to what inspires his music.

Considering that Kingsko and G. Rongi represent the same hood; Dandora, and now they have developed some kind of personal differences musically, Kampala Dispatch tried to find out if any of the two believes he is the future of hip hop in Dandora/Eastlands and Kenya at large.

“Everybody knows that Kingsko is the future of hip hop not only in Dandora, but in Kenya entirely, the question wasn’t a must. Until they match my catalogue, I have nothing to explain,” Kingsko proclaimed.

On hearing the remarks, G. Rongi did not take Kingsko’s statement lightly. He rubbished his proclamation reminding him of his years of experience in the rap industry. G. Rongi proclaimed reigning not only Dandora or Kenya’s hip hop fraternity, but the whole of Africa.

“No doubt. I see no competition. All I see is high energy and I’ve got them both. It took me a lot of mistakes to be where I am right now, and I’m not here to be given, I’m here to take.

No debate, in Dandora they call me Mr D, in Nairobi, Kenya they call me G. Rongi, in Africa they call me Black Mamba, but that’s another topic for another day,” replied the fearless G. Rongi who seems to have opened a Pandora’s Box in the region’s rap industry.

With the brewing beef engulfing Kingsko and G. Rongi, we asked the two rap artists for a comment on beefing among Kenyan rappers which has been so common over the years.

“Aaah!, I personally don’t believe in rumors. Most of these 254 (Kenyan) rappers are attention seekers — as we have this topic around, its better they explain their version of “beef” and what it entails? Anyway, I believe in positivity,” said Kingsko, a response that was sarcastically fired at G. Rongi.

“All I know is that I already shut it long time ago on “Kaburi bila Misalaba” (Grave without crosses) song. Nobody wants beef; with all they have got are excuses. They all know I got more than 16 for any upcoming, existing and non-existing so called rappers — I got 16 for even the future rappers in the sperm bank or incubators or wherever they are on their knees. Excuse my language,” G. Rongi fired back.

How the beef between Kingsko and G. Rongi started

What’s at the heart of this revivified discourse is the question of ownership over creativity.

Just recently, G. Rongi raised social media rants against fellow rapper Kingsko Ligih that he (Kingsko), is exploiting other artists and producers he worked with on ‘Safari Ya Rero’album by not recognizing or accrediting their input in the 2 in 1 album compilation project — an allegation Kingsko has vehemently retaliated.

“Since she’s (G. Rongi) more concerned about credits, its due time ‘she’ apply for some position at Kenya Copyright Board (KECOBO). My work was to push sales of the album, bring business and money in, not to stage issues with non-partisan.

The moment ‘she’ will realize it’s all about money-value here in Kenya, am sure we will relate, nothing personal,” replied the furious Kingsko who kept on referring to G. Rongi as a female (she) despite the public’s knowledge of G. Rongi’s sexual orientation known to be male.

“I think Mohjay can elaborate much more concerning this issue. All I know is that there was nothing like ‘Safari Ya Rero’being Kingsko’s project as he claims. Kingsko was just featured on this project just like other artists who he never mentions in his interviews. No hard feelings, just speaking my mind,” G. Rongi replied.

“After listening to the whole project consisting of 32 tracks, 15 artists were produced by Mohjay who happens to be my good friend, I visit him regularly at his studio in Hannover, Germany because we are working on mad projects,” G. Rongi added.

Kingsko, in his response, refers to G. Rongias an attention seeker who is currently based in Paris – France, provoking him to help him get his name back in Africa if he dares to retaliate.

“He was not there, he doesn’t know anything about the project, and he is dwelling on the past referring to an interview I did two years ago with a local publication. I’m more than two albums deep after that,” said Kingsko.

“Look, he is not even in Kenya, it’s not about the truth, it’s about provoking me to help him get hisname back here in Africa if I retaliate in any manner.

It can only be fair if you don’t mention his name because right now, I can’t just play his cards. If he was featured in the project, that could be good, but I know in this case, the ninja doesn’t even have a clue where we did the project, how it was done and why it was started,” Kingsko strikes back.

It is widely known that hip hop fans ever since the inception of rap music, have since become inured to fabricated beefs and fake news to promote new material from artists.

To make it clear and on record, Kampala Dispatch tasked Kingsko to take us through in the making of ‘Safari Ya Rero’ project that featured over 40 artists.

“First of all, I have to make it clear, Safari Ya Rero had over 40 artists involved in it. It was a double CD (2 in 1) and it had 31 tracks including the interludes and intro. Secondly, I am for the people and I don’t believe in selfishness like some of “my fellow members,” said Kingsko.

“Over the years of my beautiful career, I have met a lot of talented rappers with less exposure, and they always ask for a hand on how to uplift what they have and believe in as we interact. I always have to save the contact just in case I can help.

Now in this case, we raised an idea on how we can show some love back to the community, and that’s how we had to do a complete project in order to mix the new artists with the already established one’s, and we push it to the world for both recognition and growth of the industry in the hip hop zone.

So I got back to my people and invited them for this experience, and for sure I can tell you this for free, the new artists made us proud, they shined with extraordinary classic verses and singles in the album. Maybe someone somewhere (G. Rongi) was ‘jealous’ for not being invited. It’s a disease, get well soon yo!,” Kingsko unleashed a bombshell.

As the two artists attacked each other verbally, we got interested in knowing if G. Rongi has so far received any flak from Kingsko’s loyal fans for claiming he (Kingsko) is using or exploiting other artists.

“What fans other than wannabe rappers? Back off wannabe rappers of wannabe rappers who’s a troll groupie. Kingsko and ‘her’ fans can’t tell me shit. He will get ‘her’ visa revoked G man says so,” replied G. Rongi while attacking Kingsko loyal fans who bashed him on social media.

Kampala Dispatch insisted to know who are the artists and producer/s Kingsko worked with on Safari Ya Rero album?

“I can’t mention all of them now, I told you ni wengi (they are many) but for some; Young Haze, Ram Dee Kina, Kevin Kwali, Munga Bless (DSG), Vox Mistari, Eli Priest, Levie (K-Pac), The Late Tash (R.I.P Mshamba Mwenza), Mike Easy and 32 others. Hehehehe… so many I tell you. For producers, we have Mohjay, U.B and Ananda,” Kingsko named.

Looking at some of the big hip hop names in Kenya that are coming out with albums, there are a lot of rappers trying to stay relevant and commercially successful with their third, fifth, eighth albums, which is kind of uncharted territory for the genre, Kampala Dispatch asked if the two artists worry about this trend?

“They call me Don Wori (Don’t worry)… My path is different from them all, so I don’t know about them but over here, greatness only,” said G. Rongi.

“I really adore that plus respect that. It’s very exciting since it proves they believe in the genre, they have hope in it, they are bonded in it through love and not just money as mostly assumed. We are all surviving and serving those who support us,” Kingsko replied.

There’s a difference between being brave and actually making great Music. Pioneering Kenyan hip hop crews like K-Shaka, K-South, Wenyeji, Wakamba Wawili and others are an obvious example of hip hop crews with individuals who were and are also amazing and popular. But I don’t know if you can say the same thing for someone like Kingsko Ligih?, we asked G. Rongi.

“Kingsko like stealing ideas, and then run with them until they expire, then he looks for another one. He is an opportunist wannabe. Hustler, I don’t claim or proclaim anything I am not,” G. Rongi replied.

Kingsko in response to the same question on G. Rongi, he said; “Hahaha… I don’t even comprehend how the names are in the same sentence man! No matter how hardcore the music was from K-Shaka, it helped to elevate the mind and actually see the bigger picture, thus the knowledge to the ghetto dwellers.

But how can one try tell a growing youth to actually be ignorant to the psychological path of reality that will help him/her get over current circumstance? That’s the difference between a rapper and an MC. I rest my case in this man.”

We asked the two if a rap artist can make it in Kenya. The real question here is, can rap artist from Kenya make it anywhere?

G. Rongi laughed and simply said “mafisi kibao” (many hyenas)

And as for Kingsko, he said; “It’s not a monopoly state. We have over 40 Kings… hehehehe… Ka kuna mwere anajichocha ali make it, hakuna mtu hawezi make! (if there is any fool claiming he made it, there is no one who can’t make it)

Anyway, now serious, define “making it?” Just like any other business, it depends on one’s focus/vision when it comes to your brand. Keep the dreams alive no matter the energy surrounding you — you define your own ability.”

We further asked the two rappers, if they had to pick one song to be the soundtrack of their life, what would it be and why?

“Fyatua by G. Rongi. Reason being that’s me, the real me, and nothing will ever change me. It all started there, and that’s where I go back to find strength to keep me going and provide more,” G. Rongi said.

“Rhythm ya Life (Echos) by Kingsko Ligih and Kevin Kwali, Nielewe Mixtape 2012 and Nione DVD 2015 – Audio by Pro Nik (Greenlight Media) and video by Johnson Kyalo (Top Notch Films)

I love this song, we described life in 3 minutes and how it actually recurs in these Ghettos. Relating with the verses, we explained everything from relationships, politics, hate, rich, poor, past plus future. The best part was, even the sessions behind it, both audio and video. One word… superb! I feel it daily, that’s even my ringtone and Skiza (call back ringtone),” said Kingsko.

Any Last word?

“Kingsko f@#k you nothing personal, just don’t f@#k up the biz,” G. Rongi said.

“Always be you, usitishwe na watiriri (don’t be threatened by snitches). Kuna watu wana roho mbaya na chafu, wangekua ng’ombe wangetoa maziwa meusi! (there are people with dark/bad heart, if they were a cow, they would produce black milk) Don’t mind them, stay busy. #GYRmsee #ZaidiYaTelly here,” said Kingsko.

The post G. Rongi vs Kingsko rivalry – an ongoing music battle appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

KD: Who is Neid Cate?

Catherine Kuria known professionally as Neid Cate is a down to earth, loving and caring person, just like that girl next door neighbor (laughs!) …hope next door neighbor is not nosy. The name Neid Cate, is a rearrangement of the letters of my first name Catherine which was given to me by a special friend.

KD: What inspired you to join music?

I was inspired to join the music industry by everything happening in my life; people, and the environment surrounding me.

KD: When did you join the industry?

I started my music career when I was still in high school way back in 2008 as a backup vocalist, but professionally, I started in 2012 after recording several songs with different producers at various studios like Calif Records — where I featured Genge singer Raudy on a single titled Nilikupa, then moved to Mandugu Digital, and later at Vineyard Studios including some other upcoming recording studios.

KD: How would you describe your music to people who are just getting familiar with you?

If you want to have tips on love and inspiration, then this will be your girl right here. I am versatile in doing different genres of music which include reggae, hip-hop, and R&B.

KD: What are your songs about and who influenced your style?

Mostly I do love songs, but in general, positive music is what I love giving out there… I love Celine Dion style.

KD: How do you separate yourself from other artists, what makes your music unique?

I wouldn’t say am special than my fellow artists, but I put my music into consideration to my fans and the society at large, I do more of doing than just words.

I use my music as a platform to give hope to other upcoming artists, and together with my team Kenya Music Co-operative (KEMCOOP) — an initiative that supports and empowers talents collectively under a mutual principal of collective bargain, collective purchase and collective sharing — we do try to make sure that we give artists everything needed (mentoring them) to better understand the industry.

KD: Any challenges so far?

Airplay, airplay, airplay is the major challenge despite the government’s effort trying to impose/regulate local broadcasters with ‘local content law’ that is set to ensure 40 per cent (9.6 hours) of local content broadcasted on radio and television stations is locally produced.

Another daunting challenge is music piracy which is seriously hurting our industry. But all these challenges have never held me back from giving the best to my fans.

KD: What do you find to be the most challenging part of being a musician in Kenya?

Lack of unity is rife amongst Kenyan musicians. We don’t know what is called togetherness. Most of the musicians are driven by ego and are full of envy. Very few established or seasoned artists embrace and support the upcoming ones. They have forgotten that music business is built on relationships; you just don’t take advantage of other people.

KD: What are your thoughts on the current trend of music in your genre?

The music of Kenya is one of the most diverse in the continent. With an assortment of popular music forms in addition to multiple types of folk music derived from the country’s more than 40 regional languages resulting to genres like Benga, Hip-hop, Reggae, Rock, Soul, Zouk, Taarab, and others — with my diversity and flexibility, I think I am well accommodated in our industry.

KD: Any achievements for you so far?

Above all, I have acquired knowledge. I have learnt and understood my industry better than I knew it before, and now, I know what to expect in my journey towards my music career.

Another career changing achievement, I have worked with different artist in Kenya whom I respect a lot, I have made collaborations with several United Kingdom artists, and currently I am working with an artist from Mozambique. It is by God’s grace, talent and self-determination that I have had international exposure which every hardworking artist deserves.

KD: Has there been one particular moment in your musical career that you’re most proud of?

Yes. My music got airplay internationally as I have mentioned earlier, Tanzania, Jamaica, Ghana, Mozambique and among many other different countries.

I am so proud that I have been featured in several reggae riddims that consist of big Jamaican artists; Introspect Riddim, Avatar Riddim and Uptown Girl Riddim –that featured artists like Busy Signal, Burning Faya,  Militant Degree, Sean Taylor, Dizzo and others. I have also been featured in Kenyatta Riddim, Kingsmen Riddim, featuring Kenya’s most respected reggae artist like Sir-ne, Mc Starter, Ndocha, Tony Tire, Diddi, Dafari, Scata Bada, Blaxta G Max, Macka B, Lenn Hammond and others.

KD: Who are some of the artistes you have collaborated with and who are you currently working with?

I have had a chance to work with Halftime, Kdwag, Kennet B, Mashifta, Kitu Sewer, Kingskoh Ligh, Wazo Crew, HD Mwas, Raudy, and Adel the producer on several single tracks and mixtapes. Currently, I am working with Wazo Studioz in a series of tracks, Don Gas, Bernsoft, Pacho, Spikes and an artist from Mozambique, Davie are all in my current collaboration working list.

KD: Who produces your music and how many songs/albums do you have so far?

I am currently working with Wazo Studioz. The production house has done almost all my tracks. So far I have one album “Charming,” in total I have done 15 tracks and more are on the way.

KD: Do you belong to any Musician’s Union?

Currently we have no Union in our industry, but I am in Kenya Gospel and Secular Artists Federation (KEGSAF) which is working as a Union for now. Since we have different and several Music Associations in the country, I am also a member and a chair in Kenya Music Co-operative (KEMCOOP).

KD: What would you change about the music industry in Kenya?

I would change the perspective that we have no content or origin in our music, and let the critiques know, there is a lot of good stuff if you get a chance to listen to our own production. This applies to our media and Kenyans at large.

KD: Are you financially able to fund costs of establishing your music career?

Getting a music career off the ground is not only hard work — it also costs money. But the simplest ideas and creativity can deliver big payoffs. Yes, I am financially able to fund the costs, and I thank God for that.

KD: Who handles your daily business activities like bookings, promotions etc?

Peter Njenga (Halftime) and Kevin Mwangi (HDMWAS) handles my daily business activities from production, bookings and promotions.

KD: What is your dream project?

I have always thought of establishing a children’s home especially for streets kids, and a music school that will be free to everyone who is artistically talented, but financially unstable.

KD: Do you have any advice for up-and-coming artists out there?

Never take your talent for granted. There is a reason God gave it to ONLY you. Above all, pray and talk to your God to see you throughout your career and never forget where you came from.

KD: Give a shout out…

Let me start with Kampala Dispatch and people of Kampala, Uganda for embracing us. To all my loving and supporting family, friends and the people who make me wake up and get to do what I love most (my LOVING FANS) I love you and I don’t take you for granted, and all the Djs and presenters keep supporting 254.

The post Interview with Kenya’s rising music star Neid Cate appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.

KD: For those that haven’t heard of the Trojans dance crew, could you please introduce yourselves and tell us briefly about your dance background?

Trojans is a vibrant all-male dance crew, composed of talented students from various tertiary, and other vocational institutions in Uganda. Every style and component of the street and corporate events dance culture, is covered by the Trojans.

KD: Could you tell us a bit more about how the Trojans dance crew started?
Our paths crossed along our individual dance lives and seamed together as like minds to deliver our dance dreams. This dates back in April 2013. We’ve actually mastered and synchronised each other’s art of dance for some good time now.

KD: If you had to describe the Trojans dance crew in 3 words, what would they be?

Talented, determined, and God fearing.

KD: Which dancers or dance crew inspired and influenced you to create the Trojans, and what was the epicenter that brought the crew to the limelight?

We were inspired by ‘Jabbawockeez’ and ‘Quest Crew’ in Americas best dance crew competitions. The clothes they wore, and the moves they did were greater than any so called hip hop dancers or trained dancer we had ever seen. They are natural; they very well master the culture of real dancing. We appeared in the limelight through several music videos we featured in during our recent past.

KD: What situations did you guys have to face when you first started, or even today? Were there any struggles along the way for the Trojans?

At first, it was really hard for us to have a mutual connection with the media to showcase our work since no one knew us. But slowly, we have maneuvered trough and managed to overcome this kind of publicity challenge.

KD: How do you feel about dance in Uganda today? In both the underground scene and in the mainstream media?

Dance is really catching up in Uganda today. For example, the emergence of the many dance studios that have been, and continue to be opened up around town. Furthermore, dance tutoring services are on high demand over the past two years.

KD: According to the Trojans dance crew, what is it about Hip-Hop dance that makes it Hip-Hop? And what form of dance style best defines your crew?

Hip-hop dance is not just a dance, it is a lifestyle, and it is a culture. The attitude and energy used — with of course the technique in the dance, is what makes it hip-hop. Trojans are mainly defined as ‘B-boys’ or call us the ‘Break dancers’.

KD: What is the best way for someone to learn hip-hop dance, and most importantly, how do you develop your moves?

The best way to learn hip-hop dance is through repeated practice and thorough research, especially from the pioneers/veterans that came before. All these traits will enable someone interested to learn and master in detail the elements of hip-hop dance.

KD: How many are you in Trojans dance crew and what qualifies someone interested to join the group?

Initially, we were five guys, but we’ve recently recruited a sixth member for our upcoming projects. For one to qualify as a Trojans member, the qualities we look for are; you have to be disciplined, extremely talented, and above 18 years of age.

KD: You represented Uganda at East Africa’s ultimate dance show competition dubbed ‘Sakata Mashariki‘ season five hosted by Kenya’s television Citizen Tv in Nairobi, this is considered a platform for any upcoming dance group to showcase and market their talent, how have your lives changed after the Sakata dance competition?

Sakata dance competition exposed us to the entire East African (international) viewership and increased our ratings and bookings; it further helped us up our game and efforts due to the stiff competition from other groups that were represented from the host country Kenya, and Tanzania.

KD: How do you feel about dance styles such as Krumping, Turfing and Footworking?

These dances are vigorous and energetic. They are good dances for expressing your emotions and letting out stress.

KD: What is foundation to you, and how important do you think foundation is for dancers in general?

Foundation is the platform or core upon which you hinge yourself as a person. Foundation shapes your future as a dancer; it sets the styles that you are most likely to expertise in.

KD: What would you say to encourage young and upcoming dancers to come out of their comfort zones and reach for their dreams like you are reaching for yours?

We encourage young and upcoming dancers not to give up the hustle, be more creative, work hard, be focused, and most importantly put God first in everything they do.

KD: We would love to see The Trojans dance crew featured in local and international music videos and documentaries. Are there any ongoing special projects or planned upcoming events we should expect anytime soon? If any, which artist/s and projects are you currently working on?

The list of music videos that we have featured in is endless, but to mention a few, we have been featured in: Go down low – by Sheebah ft Pallaso, Royal – by Black Entertainment Television (BET) Award winner Eddy Kenzo and Patoranking, Work it out – by Maurice Kirya, Breaking free – by Ekky, Ayayai – by Big Trill and Young Zee, and many others.  Otherwise, we are currently working on releasing more videos of our own, we have so far released three and you can check them out on our YouTube channel Trojans dance crew Uganda.

KD: Random question, what is your all-time favorite Hip-Hop track?

Turn Down for What by Lil Jon – a single by DJ Snake and Lil Jon released on December 18, 2013. This song is the type of song that gets you motivated to do anything — getting people amped up and hyped up.

KD: What’s in the future for The Trojans dance crew? What do you guys want to do?

We have a lot of things to do. We want to start up a community center for rehabilitating the youth through various performing arts like dance, beat boxing, drama and other creative artistic activities. Collectively, Trojans want to support upcoming talent.

KD: Great, thank you so much. Is there anything else you would like to say to your fans out there?

It’s hard to describe in words the feeling that we get when we meet people that support our dance. We thank our fans for the endless love and support they have shown us, we are so grateful for this as it has made us what we are now.

The post Interview with Uganda’s best dance crew – The Trojans appeared first on Kampala Dispatch. This article was written by Michael Wandati for Kampala Dispatch.