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COVER STORY | Man Of The Year: J-Wats

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As we come close to the end of the first half of the year we want to thank you for your continued support and we are pleased to introduce to you  the Tribe UG Magazine cover in partnership with Saidi Stunner a fellow creative behind Stunner Graphics. As creators in a music industry/space we take pride in collaboration as a value so as to grow in order to continue telling the Ugandan Hip-Hop stories and its collaboration that has birthed The Tribe Magazine Cover.

The cover will be coming out every month of the year, in which the artist featured will be The Tribe UG’s artist of the month. The artist will be interviewed and covered throughout the entire month. The aim of the cover is to tell/present Ugandan stories differently and in depth. To kick off this month our first cover, we had J-Wats who just released his debut album “On My Own” grace the first ever issue. We had a chat with the rapper and he shared with us about his come up story, the music family he grew up in and the challenges in the industry. Before we deeply dive into the interview, you can purchase a copy of his just released album at UGX 25,000 at the Twambale Apparel Store, Mabirizi Complex Shop L1-3.

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What’s good boss? Thanks for doing this with us. How does it feel to make the first cover of The Tribe UG?

For me, its a blessing being on the first issue of the movement.

Let’s get into it, how did the music journey for J-Wats start? When did you decide to pursue the music hustle?

Well, it all started with a dream. Mum (Mrs. Namono Dorothy Watti) was an MDD trainee, so at the age of 8, she put me on her primary two class choir, (Narambhai Primary School). This was a moment for me because its where the dream officially kicked off. I was awarded a certificate for best perfomer, and i also got involved in acouple of singing and dancing competitions that often occured at school, still at a tender age. My dad (Mr. Watti Perez) was also a big music fan back then, he used to buy cassette tapes and play them on his radio in his bedroom. Most in his free time. I could sneak into his bedroom most of the times when i came from school, since it was only me and the maid at home.

I started listening, singing along and learning the lyrics of Maddox Ssematimba, Bob Marley and the Wailers, Fela Kuti, and a lot more music from Congo and South Africa. Later when i joined Seeta Hill College for my O’ level, i met IQ (Real names: Wakilo Isaac Eliud) who was actually 2 classes ahead of me.He taught me how to write rhymes, music verses, and all the basics that i needed to know about hip hop and rap music. I started doing rap battles, and also mimed a couple of songs at that time, 2009 i was in Senior two.

I gave music a break in my A’ level because my dad demanded good grades. I met IQ again in 2014, during my senior six vacation and we both started up a simple home studio where I learnt production. This was a turning point for me because i realized i could fuse singing and rapping together. This diversity and versatility made me a different type of artist. We started up a gospel duo together, which didn’t last long enough.

I joined Makerere University in 2015, to persue my Bachelors Of Arts In Social Sciences. At the university, I met Rey Macc who produced the beats to my first song titled “Brand New.” From that time on, I never looked back. One year later, I met Isaiah Misanvu and together with Rey Macc, we started recording my debut studio album “On My Own” , with singles like Holding The Light & Man Of The Year, which got me a double nomination in the much hyped Uganda Hip-Hop Awards for the categories, “Rookie Of The Year” and “Song Of The Year” categories.

How has the journey been so far? What does UG Hip-Hop look like through your eyes? What excites you about the industry and wrong with it?

The journey has been full of learning experiences. I’ve met so many new people, for example I got to work with like The Mith from Klear Kut, one of the big cats i grew up listening to, plus a couple of great artists and producers that feature on my debut album, for example Play 01, Pryce Teeba, Byg Ben, Baru among others. I’ve been to a couple of places, i traveled to Rwanda last year for a show with Runtown and Sheebah on the “Kigali Runtown Experience”, and also got nominated for the Uganda Hip-Hop Awards last year.

The industry at the moment is going through a new wave of sorts where we are seeing a change of guard and a rise of a new generation of Ugandan Hip Hop artists.The guys that were running the game 5 years ago appear to have taken a break to give room for new talent to prosper and that’s a good thing. The only challenge I see with it is that most artists and producers lack consistency with their work.

 

Let’s talk about your debut album “On my own”. Is there a story behind the title or is it the way you approach everything you do in life, “on your own”?

The title, “On My Own” was simply inspired by the phrase mum used to tell me as a child growing up. “Do it on your own!”, which meant it was always my responsibility to take the initiative, with or without any body’s help.

 

The album sounds versatile from hip-hop sounds to EDM. How would you describe the J-Wats sound to someone? Is the album a full representation of the J-Wats sound?

I agree! The album comprises an urban sound, (thanks to the producers: Rey Macc, Isaiah Misanvu, The CEE, Right Beats, Baru, D-Trix) with different genres and over 10 different artists from across the continent which actually shows how versatile I am as a singer and rapper. Apart from my music having an impact on people’s lives, i think diversity is one other thing that differentiates me from other rappers.

 

On one of your songs on the album you rap that “they said I wasn’t local enough”. How have you dealt with this feedback?

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The feedback is basically based on the way I rap, the beats that I use sound too urban. But I’ve tried to blend in Luganda so that people can relate, and also to penetrate the home fan-base.

 

Let’s talk about the features on the album. They’re a perfect balance between known artists and new artists we’re hearing for the first time like Zesmore & Xtacy. Was this intended when creating the album? Also what did you consider when reaching out to those artists for guest verses?

It was intended to some extent because I wanted to reach out for new talent, and new sound. I wanted to give people something different. “Lord Knows” which features Zesmore, is literally a gospel song that shows how grateful I am despite the ups and downs in the industry. Zesmore comes to feature on the song because he has been part of my journey, we had been friends for a long time so he understands what we have been through coming up. And to me, i think he is one of the best Christian rappers in the industry. Working with Xtacy from Ghana on “All The Way,” I needed to reach across Uganda. I grew up listening to The Mith, and he has always been my inspiration so working on a project with him was one of my biggest steps in my career.

I understand “This Is Uganda” is your description of the chaos going on in the country. What pushed you over the edge to go into studio and record your version because we’re not used to getting such content from you.

I liked childish Gambino’s “This is America”. That’s where I picked my inspiration majorly. My other inspiration came from the fact that I am a Ugandan and I face the same issues and challenges as anyone that lives here so I decided to take on the challenge and make this is Uganda since no one else had. It’s a song that is out of my comfort zone but like I mentioned am still growing and that involves trying new things. I’m glad the fans are loving it.

What impact do you want to make with your music? What do you want people to take away and feel when they listen to you’re a J-Wats song or album?

I want my music to empower people with their dreams, not to give up on their goals.

Lastly, we’ve gotten a J-Wats album, a magazine cover, what else should we expect from you and the team this year?

I don’t want to drop any spoilers here but all i can say is my year is far from over..

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INTO THE B’RAKA LAND

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Last weekend we got our visas stamped as we took a trip into the B’raka Land. After a Euro-tour through Denmark, Finland and others… All the way to a sold out show in London, the fastest rising star on the African continent came back home to Kampala to deliver an epic concert on 29th November 2025, one day after dropping his debut album, JUVIE.

In one weekend, Joshua gave us so much to unpack. So, let’s start from the Music.
We have seen Joshua evolve from projects like Baby Steps, where songs like Tewekweka exposed some of us to his talent, all the way to Watershed, which let people know and confirm that he was for real. We journeyed with him through his Growing Pains, where the continental appeal was beginning to ring true, and then he gave us Recess. Through these many projects and countless features, Joshua has showed us his talent, consistency and heavy work ethic. It was constantly Moves on Moves until we finally got JUVIE.

Right from One of One, we knew we were in for some flames, and we did not have to wait to get them because the next song on the album, Morocco, delivered all the heat and then some. The song is a Banger, and from early reviews and reactions on the socials, it is clearly a crowd favorite. Joshua immediately follows this up with Dive In, which was released earlier as a single, so we already knew that JAE5 and Joshua Baraka had given us an anthem. The project does not slow down at all, as he continues into Still Young, another early crowd favorite, which confirmed that we were four for four with eight to go!

One of the things that made the listening process epic was the sequencing. After starting with all that heat, Joshua gives us a mini interlude, before slowing down the tempo with one of my favorite songs on the Album, This Time. It is a well written song with silky melodies and smooth vocals that will definitely appeal to the fans that are into his more afro RnB side.
Joshua kept the energy going with State of My Heart, which features Kenyan sensation, Bien, which he followed it up with Wrong Places, which spent most of 2025 as the number one song on Apple Music in Uganda and was by far the most streamed song on Spotify in Uganda this year.
Joshua Baraka’s Juvie makes for a nice, smooth and simple listening session, right from the start, all the way to the final song, So Low, featuring The Compozers, which was a perfect way to close the project and leave us on a high note.

By the time we got to Ndere Cultural Center for the concert, we were pumped and ready to get right to it. Those of us who knew all his projects and collaborations were eager to see what selection of songs he had picked to sing to us. Those of us who have watched him perform multiple times in the past were eager to witness his growth on stage and to be a part of yet another chapter of his story. Overall, there was a high dose of FOMO in the air. Before Joshua even sang, the show had already hit a number of positives in my books; great price structure from the early bird to the last day – This was perfect to allow the core fans to access and afford their night out with their superstar.

Another win for me was the strategic partnerships, from Talent Africa to Bell Citrus and Mirinda– this set up the perfect vibe and energy, making the drinks and food affordable, enabling every fan to have a total blast in this economy, especially with DecemBAR loading and Kampala about to throw event after event our way. By the time Joshua jumped on stage, the crowd was fully charged and ready to go! Shout out to Joshua and his team for ticking all the boxes.

The performance was great, overall. Joshua had great song selection, and did not leave us feeling as if we’d missed out on anything. He catered to the different fan groups that were present, from the day ones to the late comers. He even delivered some extra throwback fire for the older fans too. He picked the right collaborations in A Pass, IzabelUG, BigTril, Mun G and Maurice Kirya. We were not left wanting. And for any little thing that didn’t go according to plan, I just got more excited, because it just showed that there is still room to grow, and we can only trust that he will step right in and through that room.

Keep streaming JUVIE Here

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Tukutane Dar 2025: How Nafasi Art Space is Powering Africa’s Creative Economy

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By Byaruhanga Felix (@MrByaruhanga)

Oftentimes, you read reports indicating that the creative and cultural industry is one of the fastest-growing sectors on the African continent, expanding faster than oil & gas, mining, or many traditional industries. The backdrop of such reports is made up of institutions like Nafasi Art Space: a vibrant, innovative hub for artistic exchange in Dar es Salaam.

In a nutshell, Nafasi Art Space is a home for all creatives, from visual artists, performing artists, artisans, filmmakers, poets, musicians, to fashion designers. As a first-time visitor, I immediately felt that one of the things Nafasi derives its power from is embedded right in its identity, the name “Nafasi,” a Swahili word meaning “space” or “opportunity.” On that foundation, the leadership has created a home overflowing with possibilities, a place to create, learn, inspire, and provoke conversation in society, just as true art and artists do.

This home is not only a safe space for artistic expression, but beautifully inclusive. They continue to achieve this through outstanding programs such as the Nafasi Academy, Film Club, exhibitions, residencies, digital art lab, performing arts showcases, and more.

As November came to a close, Nafasi Art Space, in partnership with the Embassy of Switzerland in Tanzania and the Norwegian Embassy Dar es Salaam, hosted the 3rd edition of Tukutane Dar Arts Week under the theme: “Cross-Border Collaboration: For the CCI Sector Growth.” Tukutane was initially postponed for everyone’s safety due to post-election chaos, but with new dates confirmed (24th–30th November), more than 20 delegates from Africa and Europe converged at Nafasi to share knowledge, strengthen networks, and collaborate for a fruitful week of learning and cultural exchange.

One thing that hits you the moment you arrive at Nafasi is the energy and passion of the team behind the institution. From Fatma Mkota (Partnerships Coordinator) who welcomed and toured us around, to Gwendoline Charlotte (Marketing Manager) enthusiastically declaring, “I am here for content!”; Peter Lukumayi (Finance Manager) wearing multiple hats to ensure smooth operations; and of course Lilian Hipolyte (Director), the guiding force behind this dynamic ecosystem. Engaging with them makes it clear why Nafasi works: why the space feels like a sanctuary for creatives of every age, experience level, physical ability, gender, and discipline. This team of “Avengers” carried us throughout the week with a program that clearly took months of meticulous planning and resilience despite challenges.

Alongside this remarkable team was an equally impressive group of delegates, passionate creatives ready to contribute from their wealth of experience. Through workshops, roundtables, and hands-on sessions, we exchanged practical ideas and explored possibilities for breakthroughs across the sector.

The exhibitions highlighted milestone achievements from Nafasi programs, showing where they started, where they are now, and what the future holds. We celebrated the progress of the Film Club residency cohort, the curators graduating from the Nafasi Academy in partnership with the University of Dar es Salaam, and talented artists showcasing their evolution. The evenings were spiced with curated showcases, cooling down the Dar heat while heating up vibrant dialogue, from panels on building communities in film and fashion, to a delicious Swahili food experience.

These were spaces created by artists for artists, and the audience engagement made that clear. Views were shared openly, disagreements turned into progressive debate, and ideas translated into art in real-time. Some of these memorable expressions were immortalized through live graphic commentary by Nathan Mpangala (cartoonist & illustrator), now proudly featured on Nafasi’s social pages.

As Tukutane Dar wrapped up, we were treated to a powerful closing event where over 80 artists took the stage, a testament to Nafasi’s impact in nurturing and amplifying talent. Performances included legendary Tanzanian acts and rising stars alike, while artisans showcased and sold work crafted during their time in the Nafasi community. It was a clear demonstration of a thriving alumni ecosystem, one that continues to enrich the creative economy long beyond a residency or program.

From start to finish, Tukutane Dar Arts Week 2025 was a reflection of what happens when space meets opportunity, when creativity meets community, when collaboration crosses borders.

I return home inspired, hopeful, and eager to contribute to the continued growth of our continental creative ecosystems.

Looking forward to celebrating the successes of Tukutane Dar 2025, again, in 2027.

 

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

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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.

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