When Uganda’s entertainment industry turned its eyes to Parliament in anticipation of the amended copyright law, many saw a moment of triumph, a long-awaited win for artistes hungry for better pay and protection.
But for Bebe Cool, the excitement felt misplaced. The veteran musician has dismissed the wave of optimism that followed artists’ appearance before lawmakers, arguing that most of those present didn’t fully understand what they were celebrating.
“The reason I did not appear in Parliament is because 99 percent of whoever was there does not know what copyright is,” he said.
According to him, the issue isn’t just about artists showing up; it’s about showing up informed. He believes many failed that test.
“They did not know what was in the old law and didn’t do any research about the new one,” he added, suggesting that attendance was driven more by expectation than preparation.
To Bebe Cool, the scenes that followed—cheers, excitement, and declarations of a brighter financial future—felt premature. In his view, copyright is being dangerously misunderstood as a quick cash scheme rather than a structured system that requires knowledge, discipline, and organization.
“They went there and jubilated,” he said. “I have been hearing some artists say that they are going to get rich because of copyright.”
On March 17, 2026, Parliament passed the bill, setting the stage for what many have described as a turning point in how creatives earn from their work, pending the president’s signature.
Among the artists that attended the proceedings were Eddy Kenzo, Jose Chameleone, Lilian Mbabazi, Allan Toniks, Levixone, Fik Fameica, Sheebah Karungi, Nina Roz, Coco Finger, and Pallaso, among others.
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