ARTICLES
The Producers’ Credit.
By Byaruhanga Felix (@TheNinjaFelix)
One of the objectives we had to fulfill when we shifted to “.com” was to have “Pan-African” content. These are interviews/articles that cut across the African music industry or articles that focus on the Ugandan industry that translate well to the African music audience and an example of that is the Brian Soko (grammy award winning producer) interview we had last year. This blogpost is one of them and the goal of this is to get a larger audience to pay more attention to UG hip-hop.
Recently Metro FM one of the largest commercial radio stations in S.A held down its awards ceremony. This year they introduced an African category to celebrate African music excellence which to say was a “Nigerian category”, all the nominees were Nigerian but that’s not why we’re here. So at those awards a producer known as “Beats by Tweezy” contributed to 5 wins of that night in terms of producing. A quick background he’s the guy behind most of the dope S.A hip-hop albums out like AKA’s Levels. He had to buy a ticket to attend the awards show. So he goes on to start a campaign/hashtag #ProducersMustRise, where he’s addressing what producers face in terms of being not recognized & getting credit they deserve. The hashtag went on to trend with a lot of other music stakeholders & producers joining the campaign.
So I had to reflect what’s going on the African hip-hop scene and specifically here in Uganda. I reached out to a few producers who have been putting in work and I asked them two questions. What do they think about the whole thing of producers not being recognized and back here in UG are producers fully given the credit they deserve? You can read their answers below and please do tweet us your thoughts @TheTribe_UG.

Josh SB (@JoshSBSessions): In this current generation, a producer is an artist himself by just staying behind the desk and using his hands to speak/talk/sing. Producers should just brand themselves in order to get the recognition they are looking for because unlike other genres, I think hip-hop globally has tried to push n promote producers. We are the only genre that mentions a producer’s name in the song (with exception of those rare cases). We should be thankful already because other genres like soul and EDM don’t even hint on who the producer is. Beyond that one should have realistic expectations. There is a reason why your job as a producer is regarded as “Behind the Scenes”. It’s because part of your job is to sacrifice your skill to make an artist shine. The best producers are the ones who get the artist and sacrifice their sound to this artist so that he/she can break through using this sound the producer has created. We have seen this several times happening; Swizz=DMX, Just Blaze=Jay Z, Babyface=Toni Braxton, Timbaland=Aaliyah, Stargate=Neyo, Mike Will=Rae Sremmud, JR=Sean Kingston, Quincy Jones=MJ etc
Sorry for the old school examples but you notice that most artists ride on the producer’s sound to get that edge that can CUT IT in the game. The consistency of doing that and having this artist push your name out there each time he/she makes a public appearance both through his airplay and in person is what promotes the producer.
Cause you can’t blame the audience for getting overwhelmed by the artist whose voice they keep listening to each time the song plays cause you the producer you were “verbally” quiet hence not noticed.
But a producer who brands himself and treats himself first as an artist in his craft is one who can start getting the recognition they deserve. That’s why these days thanks to YouTube we get to see some producers make the beat of popular song on video just to show the world that they are the ARTIST behind the silent desks where the music is made. I personally feel like that’s our playground as producers and if we are to promote ourselves then that’s a good place to start. Show people the ARTIST in you as a producer both behind the desk and also outside on social platforms. You brand yourself.
Swizz, Scott Storch, Rodney Jerkins, The Business, JR etc all became BIG even without ever spitting a verse or shouting more than 3 sentences in a song. They mostly branded themselves to start being recognized. They literally made “production” look so cool that people started treating them like artists. Swizz spit his first album after 10 years of being a well branded producer.
Here in UG I think every good producer has really been recognized by the hip-hop industry, cause the industry is so small so one way or the other people get to know you produced this song & that song especially if it’s an artist they know. Though I must say the talented ones are yet to be heard. They just getting warmed up. It still goes back to branding yourself as a producer. Most guys meet me & think am responsible for a lot of tracks in the game yet I have only produced 4 popular hip-hop tracks on radio in my whole career. It’s just the noise CODE & Benezeri made about those 4 tracks that made it look like I have done a lot. Other tracks I have produced have remained in the background. The other thing is that for me it’s not about HOW MANY dope songs you have produced. It’s about THAT ONE SONG and the impact it creates on the game as a whole. That’s what makes people ask WHO IS THE PRODUCER? That’s an aspect most producers never look at while pushing their careers.

Baru (@IamBaruBeatz): Producers and beat makers sure do put in a lot of work when it comes to putting together music especially in hip-hop as genre where most of the artists out here work with beat concepts which are usually the producers ideas. That accounts for like 50% of the whole song concept. So when its comes to crediting producers should always be credited because they deserve the credit. For the producers that don’t get credited, I put it on the artists they work with who maybe don’t make an effort to see that they are credited. I think its high time all music consumers and stakeholders realized how much work that goes into making music is the producers effort.
Back here in UG Stuff has eased up over time producers are a little recognized for there work and contributions to making music artist have made an effort. But our industry here in Uganda is still under developed for the loyalties system to work so producers are not benefiting enough from the work put in in making the music. Artists benefit more from the music hope things will change in due course. Another thing I haven’t wrapped my head around is the awarding system and if the award shows that exist are fully developed. I think more producer categories should be added to enable favorable competition. But bottom line credit should given where its due.
Vote for The Tribe UG (Best Blog Category) in the Social Media Awards 2016 here.

Mark (@TribalUG): People such as artists as well as others in big positions who interact with producers need to understand that without them they won’t have anything to sell to the public. That’s a fact. Credit needs to be given where it’s due. Whether it’s in terms of money or simply shout outs on TV radio interviews.
In UG producers are actually appreciated and in my opinion taken as serious celebrities. Look at the likes of Washington and Nash wonder. Most times new artists that work with those guys only get airplay when their names are shouted out on the track. But on the other-hand the larger minority of producers especially those that do different genres or are new to the game aren’t really appreciated much. Most are under looked and under paid and not really appreciated even by artists themselves. I think it comes down to the mentality that some artists have of producers as people offering a service and therefore should bow down to whatever idea the artist has. In terms of corporates and big business guys they look at producers the same way. ” why should we pay this guy this much for just making a track, or why should we give him credit since we r the ones pushing the song” it’s worse if the producer is young and doesn’t have a big name for him/herself.

The Soultan (@Simon_Elly): First of all producers have to be given some special recognition too , just like the artists . They take part in crafting all the music that the people enjoy but at the end of the day the artists take all the praise. For the awards to have a single category for producers is still not fair. There are many genres of music, that means there are many producers that are responsible for crafting music to feed those genres. Some are multi genre others aren’t. But when it comes to award categories, they usually select from categories that dominate the air waves. That leaves a lot of talented producers not recognized The other issue is, some beat makers are called producers which is misleading.
Now bringing it back home here, in UG. There are many beat makers/ producers that have put in work but have failed to get the recognition they actually deserve. I’ll not give names, you know them. The first recognition should come from the artists, then the rest will follow. However certain artists will only work with a producer who has worked with a bigger artist, has hit songs on radio or is willing to work for peanuts Or “free-thousand” shillings. The media also some times fails to look beyond the music, they have failed to dissect the music and understand who does what and how important are they?
Vote for The Tribe UG (Best Blog Category) in the Social Media Awards 2016 here.
ARTICLES
INTO THE B’RAKA LAND
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
ARTICLES
Tukutane Dar 2025: How Nafasi Art Space is Powering Africa’s Creative Economy
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.
ARTICLES
Apply Now: Koola Kampala Business Incubation Programme for Creative Entrepreneurs in Uganda.
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.

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.
-
Interview11 months agoMaritza on Breaking Continental Barriers with Spoken Word EP ‘Poetry in Motion’
-
ARTICLES7 months agoApply Now: Koola Kampala Business Incubation Programme for Creative Entrepreneurs in Uganda.
-
ARTICLES11 months agoKohen Jaycee’s ‘Gundeze’: A Soulful Anthem of Love.
-
ARTICLES11 months agoReviving Nostalgia: Akeine and Henry Tigan’s “Out of Control” Remix.
-
Interview11 months agoMitch Isabirye on Poetry, Collaboration, and Culture: The Story Behind ‘Poetry in Motion EP’
-
ARTICLES11 months agoOn the Move by Denesi: A Powerful Anthem of Hustle and Ambition
-
ARTICLES3 weeks agoINTO THE B’RAKA LAND
-
ARTICLES4 weeks agoTukutane Dar 2025: How Nafasi Art Space is Powering Africa’s Creative Economy


