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Dear Ugandan Hip-Hop Purists.

Published

9 years ago

August 13, 2016

By Byaruhanga Felix (@TheNinjaFelix)

Last week Navio released “Embukuuli” and it got mixed reviews from the fans. The hip-hop heads were disappointed, even one of the Rap TV shows regarded to it as a “discouragement”. Personally I don’t share the same views; I actually tell people we should embrace such a track. The problem with us hip-hop heads, we’re so caught up in what’s hip-hop and what’s not you may think we’re in the Bronx where it all started. We forget we stay in Uganda. What does this mean for us? This means we need to add elements to UG hip-hop that a person from Owino will understand connect with and eventually become a dedicated fan of the genre. Some of Navio’s tracks that clearly show this. This will mean we’ve to celebrate tracks like Njogereza, Nawuliranga where he samples Frida Sonko, Kigozi (Iko Hivi) where he samples Fred Kigozi and his latest Embukuuli which is on a dancehall beat of which the genre happens to be one of the biggest in Uganda. Proof to that is Ziza Bafana’s recent concert or look at most of the artists flown into the country, most of them are dancehall artists. In brief he fuses two genres on tracks like Embukuuli.

Rappers like Sylvester & Abramz, Klear Kut, GNL, Babaluku have created an ecosystem that has enabled the hip-hop genre to thrive and proof to this are the diverse hip-hop acts we have accompanied with hip-hop platforms like The Tribe UG and others. So this means the objectives/goals as to why they are rapping differ. In the process of continuing to pursue their rap careers, hip-hop has broken down barriers, raised the bar of the entertainment industry in certain cases. A rapper like Navio has shown us it’s possible to rap your way to the corporate’s boardroom get an endorsement and the next day you’re at a refugee camp supporting people. So when he drops a track like “One & Only” let’s celebrate its achievements like being playlisted on BBC’s 1Xtra instead of complaining that it’s so commercial. One thing I always say is that people who complain time and again that Navio is so commercial are the people who don’t buy/listen to his albums. These are people who wait for promotional singles that are released online or tracks that are being played on TV then pass judgment on what’s hip-hop and what’s not.

One thing that we Africans especially Ugandans love is to party & dance. No one is going to dance to your 16 talking about how we are suffering in Africa; no girl is going to “twerk” on your bars on a hip-hop beat where you’re rapping your ass off. But they’re going to upload videos where they’re dancing to Njogereza, a track where Navio drops two or four bars. Don’t get me wrong, I’m all for conscious hip-hop or music in general that carries a message, but let’s not box in our artist and limit their creativity. This translates to performances too. You’ll see Navio being announced on the line-up of performers at “embuutu ye mbutikizi” and at the most raw hip-hop show or battle. This simply means that he knows how to cater for his fans and the Ugandan music market at large. A clear example of this is early this year when they released the official first Klear Kut single “let it rain” on a Saturday and later the following Monday Njogereza was out. These were tracks that had Navio on but catering for different listeners and markets so there’s nothing like there are too many Navio verses out. Let’s stretch it a bit and take it to the continental level. We’ve seen AKA release two albums and on the second one he realized he needs to connect more with the South Africans thus sampling tracks from Brenda Fassie which led to your favorite 2015 African hit “All Eyes on Me”. He keeps doing this on most of his successful singles but then turn around drop a single like “Dreamwork” for his hardcore hip-hop head fans. But you don’t see them refer to one of his tracks as a “discouragement” when he sings on a track with Diamond Platinumz. Look at Caracara that you enjoy by K.O which has elements of Kwaito (the South African version of Kidandali). They continue to find ways of adding their elements to South African rap and it works for them cause right now hip-hop is one of the most popular genres in S.A which wasn’t ten years ago and continues to dominate continental airwaves. But when one of our own does it, no he’s not hip-hop instead of celebrating it being the number one East African song on a purely West African TV station.

Hip-Hop is a foreign genre that we need to keep explaining to our people from time to time so that they can connect with it, in the process we get new fans thus the genre growing and become a genre that corporates can finance. Through this we can have more hip-hop artists grace concerts. So when Navio does Embukuuli instead of referring to it as a dancehall song let’s forward it to people who enjoy Ugandan dancehall so that they can run with it and in the process become new fans who in return will enjoy Enygma’s punchlines or Pryce Teeba’s side Zeno. Let’s figure out how to push rap to the masses instead of pretending to be New Yorkers in the ‘80s wearing oversized jeans, tees, timberlands standing on a corner of our social media streets discussing what’s hip-hop and what’s not. With that said download Embukuuli here

Related Topics:“One & Only”AKA Caracara Diamond Platnumz Dreamwork Embukuli KO Navio Nawuliranga Njogereza Pryce Teeba Side Zeno UG Hip-Hop Ugandan Hip-Hop

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ARTICLES

Apply Now: Koola Kampala Business Incubation Programme for Creative Entrepreneurs in Uganda.

Published

1 month ago

June 20, 2025

thetribe

If you’re a cultural or creative entrepreneur in Kampala looking to take your business to the next level, here’s a game-changing opportunity worth paying attention to. Africalia, in partnership with The Bold Woman Fund, has launched a new business incubation programme dubbed Koola Kampala, designed specifically to support and elevate Kampala’s creative and cultural sector.

Koola Kampala is a 12-month business support programme for legally registered creative businesses that are already generating revenue. It aims to build stronger, more sustainable enterprises by equipping entrepreneurs with the tools, mentorship, and strategic guidance they need to thrive in Uganda’s rapidly growing creative economy. Whether you’re running a music label, fashion brand, media studio, design outfit, or cultural enterprise, this programme is tailored to strengthen the business side of your creativity.

This initiative is funded by Africalia and aligns with the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the Sustainable Development Goals, and national cultural development policies. It seeks to invest in the people driving Uganda’s creative heartbeat, young innovators building impactful businesses at the intersection of culture, identity, and entrepreneurship.

To be eligible, you must be over the age of 18, based in Kampala, and running a legally registered cultural or creative business that has been active for at least one year. Your business must already be generating revenue and able to provide samples of work when requested. More importantly, applicants should demonstrate a strong motivation to strengthen their business management and growth strategies.

Photo supplied by Skyline Media.

The programme is structured in four key phases. First is the selection phase, during which 15–20 promising businesses will be shortlisted based on eligibility, motivation, and programme fit. This is followed by a 3-month pre-incubation phase, where selected participants will undergo a diagnostic assessment of their businesses, receive both group and individual coaching, and be trained on key business fundamentals. At the end of this phase, 12 businesses will be selected to move forward into the main incubation phase, which spans 9 months of intensive training, weekly one-on-one coaching, strategic growth support, and specialised modules tailored to the needs of each participant.

Once the incubation phase concludes, the programme enters its final phase—post-incubation—where participants will walk away with a tailored action plan for their business, deeper entrepreneurial skills, refined business models, and access to both national and international expert support. Additionally, they will have the opportunity to apply for seed funding to support the implementation of their business plans.

Applications are now open and will close on Saturday, July 5, 2025, at 6 PM (Kampala time). Interested entrepreneurs can apply through the online form available here. For further questions, Africalia and The Bold Woman Fund can be reached via africalia@africalia.be or contact@boldinafrica.com up until June 29.

For Kampala’s creatives, this isn’t just another programme—it’s a doorway to long-term growth, sustainability, and impact. If you’re ready to build a business that lasts and contributes meaningfully to Uganda’s creative ecosystem, Koola Kampala is the opportunity you’ve been waiting for.

ARTICLES

Kohen Jaycee’s ‘Gundeze’: A Soulful Anthem of Love.

Published

6 months ago

January 24, 2025

thetribe

Am I the only one imagining how a mix of Kohen’s “Gundeze” and King Saha’s “Gundeze” would sound in a DJ set? And I’m not saying that just because King Saha’s concert is kicking off as I type this. Maybe it’s just me.

From his critically acclaimed album, RWEBEMBERA: The Raising Echoes, Kohen Jaycee’s “Gundeze” is a vibrant celebration of love wrapped in his signature RnB and Afro-fusion style with a sprinkle of Amapiano’s log drum. The track’s heartfelt lyrics and infectious rhythm make it a soulful anthem for anyone who cherishes the beauty of love. The lyrics are simple yet profound, with Kohen professing unwavering devotion to his partner:“I love you, Gundeze / I feel you, Gundeze / I want you, Gundeze / I need you, Gundeze.”

The music video for Kohen Jaycee’s Gundeze perfectly complements the song’s soulful and romantic essence. Staying true to Kohen’s signature style, the visuals are minimalistic yet captivating, set against the serene backdrop of a lush forest. The video follows Kohen as he alternates between intimate moments with his significant other and heartfelt solo performances amidst nature. This simplicity allows the focus to remain on the song’s message of love and connection, making the video a beautiful extension of the track’s uplifting and heartfelt vibe.

The chorus, repeated like a mantra, draws listeners into a melodic trance, while the verses paint a picture of intimacy, trust, and connection. Kohen’s soothing voice and heartfelt delivery elevate the song into a timeless ode to love. Whether it’s the wish for stars to align or the plea for mutual vulnerability, Kohen’s “Gundeze” resonates with anyone who has experienced the magic of love. The simplicity of the video enhances the song’s essence, focusing entirely on the connection between two souls.

“Gundeze” is more than just a track; it’s a reminder to cherish the ones we hold dear, dance to the rhythm of love, and embrace the beauty of the present moment. Kohen Jaycee has once again proven why he’s a standout artist in Uganda’s music scene, leaving us eagerly anticipating his next move.

ARTICLES

On the Move by Denesi: A Powerful Anthem of Hustle and Ambition

Published

6 months ago

January 24, 2025

thetribe

Denesi’s “On the Move,” the opening track on his debut album Everything Is Real, is an anthem of ambition, resilience, and community, underscored by a gritty hip-hop aesthetic. Produced by Northbound Beats, the track captures the pulse of Kampala’s streets, blending hard-hitting lyrics with a hypnotic beat that mirrors the hustle it portrays.

The accompanying video brings the song’s narrative to life, embracing the classic hip-hop imagery of camaraderie and grind. From the corner store to the stage and finally to the laid-back moments of planning the next move, the visuals reflect Denesi’s journey and the community he’s built. Cameos from collaborators like Lagumtherapper, Akeine, Lucass Blacc, and Manly add depth, showcasing the collective spirit that defines his artistry.

Lyrically, “On the Move” is both a reflection and a manifesto. Denesi paints vivid pictures of Kampala’s dualities: the sunlit streets masking a tougher reality, where survival demands creativity and grit. Lines like “Welcome to the city of the dogs and the criminals / You ain’t making money, you ain’t working, you ain’t real enough” set the tone, balancing raw honesty with undeniable swagger.

The hook, with its repeated refrain of “Who dat on the move, me I’m on the move”, is a declaration of aspiration. It positions Denesi as a trailblazer, reaching for heights beyond the ordinary while staying grounded in his roots. The mention of his collaborators in the hook reinforces the communal ethos of his work, a nod to the people who’ve shaped his journey.

Denesi’s storytelling is sharp and layered. He captures the struggles of navigating Kampala’s streets (“You know Kampala streets, man, the trouble’s never over”) and dreams of transcending them (“When I make a billy, prolly settle down / Maybe buy a villa, buy the whole town”). His versatility shines as he shifts from local struggles to global ambitions, even hinting at cross-border hustles with lines like “I trap on some Lingala shit, they pay me plus the benefits”.

The production complements the lyrical intensity, with Northbound Beats crafting a soundscape that feels both contemporary and rooted. The beat’s steady rhythm mirrors the relentless drive described in the lyrics, while the layered instrumentation adds depth and texture.

Overall, “On the Move” is a powerful introduction to Denesi’s world. It’s a song that celebrates ambition, acknowledges struggle, and underscores the importance of community. With its infectious hook, sharp lyricism, and dynamic visuals, the track sets the stage for what promises to be an impactful debut album. Denesi isn’t just on the move—he’s carving a path to the moon, and he’s taking his people with him.