Over the last five years, an exhilarating party scene has been gathering momentum in Kampala. Powered by an experimental approach to club music from east Africa and beyond, the scene has established Uganda’s capital as a key part of the global underground electronic music ecosystem.
And music and art collective Nyege Nyege has been a key force within the movement. Co-founded in 2013 by Burundian creative Derek Debru and Greek-Armenian ethnomusicologist Arlen Dilsizian, Nyege Nyege has taken African artists on tour across Europe and Asia.
The Nyege Nyege festival is one of the most celebrated on the continent. It started as just a fun thing that we were doing with friends and trying to create a space for people in east Africa who listen to alternative music, as well as east African acts who make incredible music but don’t always break into the Top 40. We felt like they deserved an audience.
The success has been very gratifying because I was not a DJ before I got involved in the Nyege Nyege festival. I feel like my success as a DJ and the success of Nyege Nyege have been very intertwined. I feel like a lot of the reason why people are interested in me as a DJ is because of the community that I come from. To see people embrace the festival and the success of myself and [frequent Nyege Nyege collaborator] Otim Alpha as a result of the festival has been better than I could ever have imagined.
The Ugandan music scene has also evolved since Nyege Nyege started in 2015. I think the biggest difference - and it can’t be credited to just Nyege Nyege - is that there is space for alternative music, parties and acts. In 2015, there weren’t a lot and we didn’t know where to go or who to follow. But right now there are a lot of events that are inspired by music outside the Top 40. Afro-house, amapiano and techno, there’s more space for that even in Kampala.
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Kampire has been one of the scene’s biggest individual success stories. After returning to Kampala from Ohio just over a decade ago, she joined Nyege Nyege, DJing at the collective’s parties in Kampala clubs as well as at the Nyege Nyege festival, the Amani festival in Congo and Burkina Faso’s Africa Bass Culture event. She also became a fixture on the international festival circuit. The 34-year-old’s sets are an exhilarating journey through genres such as Afrobeats, Afrohouse, gengetone, kwaito and Dennery Segment, the latter Saint Lucia’s buoyant interpretation of Soca music.
She also likes Dennery Segment, a sub-genre of Saint Lucian Soca music. She listens to everything to be honest, but she really likes Kenyan gengetone. She thinks it’s vibes but it’s also really exciting what the artists are doing with the sound. She also loves Ugandan pop music, it’s influenced by dancehall and Afrobeats. There are a number of genres that she loves that are less popular like electronics from northern Uganda, singeli music from Tanzania and the interesting things coming out of the South African underground.
Before the pandemic, touring was her main work and she was on tour for about seven months out of the year. Not touring was a big change, but it was also nice to be home and have space to focus on some things. She has also [done livestreamed DJ gigs] but they’re not as fun because, for her, DJing is about real-time exchange of energy. She did a few of those but in the end, she stopped. She has also worked on other creative endeavors like learning to produce and working on compilations.
She is hopeful that it will be safe to travel and play at shows again, but it is complicated to travel as an African artist. She doesn’t think it’s going to be easier once you bring in testing and vaccination and all of that because it’s really a money-making scheme for a lot of African governments. But she has a couple of shows booked. Asides from that, she has compilations and remixes that she has been working on. And that’s keeping her sane. Kampire is playing Repercussion festival in Manchester on 18th September.
Another prominent figure in the Ugandan DJ scene is DJ Erycom, also known as "Local But Global DJ." He is a veteran of African music, with a degree in Information Technology and multimedia with sound engineering. A native of Kampala Uganda, DJ Erycom always knows how to harness the sun, beach and the clubs in order to get the the very best out of his audiences, and DJ Erycom’s evolving appreciation of the "Strictly Local Music", has brought him commercial success globally.
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Legendary DJ Erycom started his deejay career in 2007, in the dance clubs of Kampala, playing gigs at different places. Erycom became resident DJ at club Diplomat in 2008 and until he joined Club Volts in 2009 as a house DJ spinning every Friday and Wednesday. In the year 2009 after working with NBS Tv, DJ Erycom was hired by 87.7 Kampala FM where he served as the Program's Manager until 2014 when he resigned to concentrate on his Deejaying career. Erycom also worked for TV Africa as a music analyst and VJ.
Erycom won the East Africa DJ Award in September 2008 beating over 9 contestants and in 2009, DJ Erycom contested in the Africa DJ awards and he was beaten by Nigeria’s DJ Kennel. While in Egypt in March 2010, Erycom contested with 3 other DJs from Uganda and he won the Nile Spin master award which he later lost to Egypt’s DJ Alish in march 2011. Luck was on his side and he later made it in South Africa mid 2011 as East Africa’s DJ of the year in the Africa DJ awards representing Uganda.
Erycom has therefore turned out to be one of Uganda’s remix masters who spices up artistes songs and turns them out to be more exciting and sweet.
Considering the stiffness and growth of the entertainment industry in Uganda, the competition is not only left for the musicians but also the Disc jockeys. The Djs are also becoming more and more competitive today that some of these have taken steps into working as groups. Looking at group Djs like Ultimate Djs, House of DJs and Platinum Djs, the deejaying talent is growing day by day as many efforts are being pulled together to lift up these people especially within the entertainment industry. This is also being spearheaded by those we call superstars at Deejaying in Uganda.
Identifying and selecting the best Dj in Uganda might be rather a hard task as different people have different tastes and preferences. As long as a DJ masters and knows how to blend his music well, and looking at the music trends today and of course over the years, those Djs good at live mixes would surely rank in top positions.
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Other notable DJs in Uganda include:
- Dj Baby love
- DJ Nimrod
- Karo
- DJ Mark
- DJ Roja
- DJ Andy
- Shiru
Joshua Lazer is a 22-year-old music producer from Uganda who is currently experimenting with the electronic music genre. Well versed multi genre producer with an Ep and singles out as well as a Dj. Currently working in masters music as a sound engineer along side well renowned Producer and audio Engineer Micheal fingers. Masters Music is where the 2018 World Cup song with Jason Derulo Feat Wykee Benda. #Colours was made.
How To DJ For Beginners (It's Simple)
A DJ, or disc jockey, is responsible for curating and mixing music for events, parties, and gatherings. They create an engaging atmosphere by selecting tracks that resonate with the audience, often blending different genres and styles. DJs use various equipment, including turntables, mixers, and software, to manipulate sound and create seamless transitions between songs.
A DJ performing at an event.
Hiring a DJ in Uganda: A Step-by-Step Guide
Hiring a DJ in Uganda involves several steps to ensure you find the right fit for your event. Start by identifying your event's requirements, including the type of music, the expected audience, and the venue. Next, search for DJs through online platforms, like Twine, where you can browse portfolios and read reviews. Once you've narrowed down your options, reach out to potential DJs to discuss availability, experience, and pricing. It's essential to communicate your vision clearly and ask about their equipment and setup.
Exceptional DJs possess a unique combination of skills and traits that elevate their performances. To find the perfect DJ in Uganda, start by assessing their experience and expertise in your desired music genre. Review their previous performances through demo videos or live sets to gauge their style and energy. Read reviews and testimonials from previous clients to understand their reliability and professionalism. Additionally, consider their communication skills and willingness to collaborate on your vision for the event.
During a DJ interview, it's essential to ask questions that reveal their experience and compatibility with your event. Hiring a freelance DJ offers flexibility and a more personalized experience, as you can directly communicate your needs and preferences. Freelancers often have a diverse portfolio and can adapt to various event styles. In contrast, working with an agency may provide access to a wider selection of DJs, as well as added support in terms of logistics, contracts, and backup options. However, agency fees may be higher due to their overhead costs.
Hiring on Twine is simple:
- Post a job with your project details, timeline, and budget.
- Browse portfolios of vetted DJs and invite those who match your needs.
- Receive proposals and compare experience, pricing, and reviews.
- Communicate expectations, set milestones, and finalize the hire.
- Securely pay through Twine, ensuring protection for both parties.
Traditional Music and Funeral Rites
Beyond the modern DJ scene, traditional music continues to play a significant role in Ugandan culture, particularly in funeral rites. The Jopadhola people, who live predominantly in Tororo, have unique musical traditions associated with mourning.
When someone among the Jopadhola dies, tradition mandates that the body be washed with banana juice and dressed in ceremonial clothes. The men play the fumbo and dance with spears, as if to stab death itself for taking their loved one, says Ogambo. Women dance while wailing, wearing banana leaves around their waists that later will be thrown into the grave.
The rite is becoming rarer and rarer these days, Ogambo says. “I listen to what is being played, and I watch how people struggle to mourn because the radio doesn’t evoke grief. … People dance their own kind of dance, and it seems more like a leisure funeral!” Ogambo says as he claps his hands and laughs.
The mourners are supposed to learn about the deceased through the songs, says Alex Okello, 21, one of the few young funeral musicians, who learned to play the fumbo from his father, who learned from his father, and so on. “The funeral musicians are a vehicle of Jopadhola oral history,” Okello says.
“When you refuse to be a funeral musician, the Jogi [gods] will follow you until you accept. For the few funerals the musicians play, they charge 40,000 to 70,000 Ugandan shillings (.73 to .77).
Isaac Ochieng, 22, also known as DJ Isak Pro, says the job doesn’t require much work, as he’ll play anything that’s popular - although he has recorded live fumbo music and plays that, too.
The spread of Christianity in Uganda has probably contributed to the ajore’s waning as well. Two decades ago, Evaline Awori invited funeral musicians to mourn her husband. “We don’t need ajore dance anymore. Death is part of life. I don’t need to mourn anyone like that anymore,” she says.
Many families burn musical instruments and antiquities during family prayers as they curse demons from their home, says Wandera Salmon Owino, minister of tourism and antiquities at the Tieng Adhola Cultural Institute, a Tororo nonprofit working to preserve Jopadhola traditions. “Some people associate the fumbo with witchcraft,” he says.
John Oweko, standing, beats the fumbo drum while Alex Okello, seated at left, plays the tongoli and Othieno Oloo plays the adungu, or arched harp, demonstrating a traditional funeral ensemble in Puchowa North village, Uganda.
The institute is pushing the Tororo district government to ban electronic sound systems at funerals, and a recent wave of crime during services might just persuade Tororo residents to support such a move.
“The modern music is empty. We don’t know where it is made. It’s not part of our heritage, not part of our history. Traditional mourning, on the other hand, is very interactive between the musicians and the mourners, says Atuki Turner, Ndira’s co-worker.
He says that he’s too weak and tired to play the fumbo at funerals, which requires standing, but that he sometimes plays the tongoli, which can be played seated, at the okelo, a similar ritual reserved for warriors and prominent elders in the community.
Unlike the ajore, the okelo allows fathers, uncles and grandfathers to play together. The radio isn’t usually hired for the okelo. “It’s too special,” Ogambo says.
When he dies, Ogambo’s funeral will be celebrated with an okelo. And he plans to keep his fumbo until then. “I can’t throw my fumbo away,” he says.
| DJ Name | Genre | Key Achievements |
|---|---|---|
| Kampire | Afrobeats, Afrohouse, Gengetone, Kwaito | International festival circuit, Nyege Nyege collaborator |
| DJ Erycom | African Music | East Africa DJ Award winner, Nile Spin master award winner |
| DJ Isak Pro | Popular Music, Fumbo Music | Blends popular music with traditional fumbo |
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