Ugandan singer Eddy Kenzo has ranked Uganda third among Africa’s leading music industries, placing it behind Nigeria and South Africa, while arguing that the country’s musical diversity is a strength rather than a weakness.
Speaking to Galaxy TV, the Big Talent Entertainment boss challenged criticism that Uganda lacks a distinct musical identity, saying the country’s sound cannot be confined to one genre or style.
Kenzo also acknowledged the influence of the Democratic Republic of Congo (DR Congo) as he discussed Uganda’s position within Africa’s music landscape.
However, the singer did not specify the criteria behind his ranking, leaving unclear whether it was based on commercial performance, international reach, streaming figures or other measures of industry growth.
The debate over Uganda’s music identity centres on what distinguishes its sound from that of other African countries.
For Kenzo, the answer lies in the variety of musical expressions found across the country, from traditional forms to contemporary productions.
He pointed to cultural music and the adungu, a traditional string instrument, as examples of elements that contribute to Uganda’s musical character.
Rather than identifying one dominant genre as the country’s defining sound, Kenzo argued that Ugandan musicians should be able to explore different styles.
“We have many, we have cultural, adungus and all that… we have almost everything, and that’s our sound. It’s a matter of anybody doing whatever they feel like they want to do.”
His comments present musical diversity as central to the Uganda music industry, challenging the expectation that a country must have one easily recognisable style to establish its identity.
The interview did not identify the individuals or organisations behind the criticism that Uganda lacks a distinct sound.
Kenzo’s ranking places Uganda behind Nigeria and South Africa, two countries he identified as leading Africa’s music industry.
He also recognised DR Congo’s influence, although the available information does not establish how he assessed the country’s contribution or its position relative to Uganda.
The ranking offers a perspective from one of Uganda’s established music figures, but it should not be treated as an independently verified industry assessment.
No figures were provided to support the ranking, and Kenzo did not explain whether he was comparing music production, revenue, streaming performance, international collaborations or the reach of Ugandan musicians.
Those distinctions matter when assessing the position of any African music industry, particularly when musical influence and commercial success do not necessarily produce the same results.
Kenzo’s remarks nevertheless bring attention to a broader question about how Uganda’s music scene should be understood as its artists work across different genres and collaborate with performers from other markets.
Kenzo also pointed to his collaboration with Nigerian singer Niniola on Mbilo Mbilo Remix as an example of Ugandan music reaching beyond its home market.
The collaboration features the two artists and provides a reference point for Kenzo’s argument about the movement of musical ideas across national borders.
He connected that discussion to what he described as changes in Nigerian music, arguing that some artists had moved away from earlier sounds towards simpler beats and melodic Afrobeats influenced by styles such as zouk.
“They moved away from their old sound and started doing the simple beats and melodic Afrobeats, the kind of zouk. All of them changed, but you can’t tell it to anyone here and they agree..”
Kenzo’s assessment suggests that musical styles can evolve as artists experiment with different sounds.
However, the interview information does not independently establish that his collaboration with Niniola caused or directly influenced changes in Nigerian music.
He also acknowledged that Ugandan artists might disagree with his interpretation, underscoring that his comments reflect his own assessment rather than an established industry consensus.
The release date and commercial performance of Mbilo Mbilo Remix were not provided, and no figures were available to measure its international impact.
Kenzo’s comments leave questions about how Uganda’s position in Africa’s music industry can be measured and how its diverse musical identity is understood beyond the country.
Independent industry figures, including streaming data, music export performance and international audience reach, would help establish a clearer basis for comparing Uganda with other African markets.
Perspectives from producers, cultural researchers and musicians working across traditional and contemporary genres could also provide further insight into the debate over Uganda’s musical identity.
No specific follow-up announcement or industry initiative was outlined in the interview. For now, Kenzo’s remarks put the spotlight on both Uganda’s standing in the regional music landscape and the diversity he believes defines its sound.
His central argument is that the Uganda music industry does not need to be reduced to one genre to have an identity; its many musical styles, including traditional influences and contemporary sounds, are part of what makes it distinct.
