For more than two decades, Uganda’s music industry has had a largely accepted “Big Three” — Bebe Cool, Jose Chameleone and Bobi Wine. The trio shaped the country’s entertainment scene, built massive fan bases and influenced generations of musicians who came after them.
However, the three are now on different trajectories. Bebe Cool remains active in music, Jose Chameleone continues to release music and perform, while Bobi Wine has shifted much of his attention to politics. His political career has also taken him outside Uganda.
Their dominance went beyond music. Fans often identified themselves with one of the three camps, with the long-running rivalry between Bobi Wine and Bebe Cool generating some of the biggest debates in Uganda’s entertainment industry. Bobi Wine’s entry into politics, however, changed the equation, forcing many of his former music fans to choose between continuing to support him politically or remaining focused on his music.
Bobi Wine’s journey from the ghetto music scene to becoming one of Uganda’s most influential political figures also inspired many young people. His story showed a generation that it was possible to move from being a “ganja man” and musician to occupying a major position of influence in the country.
Politics has therefore had a major impact on Uganda’s music industry, both positively and negatively. But that is a conversation for another day. The bigger question now is whether Uganda needs to acknowledge a new generation of musical heavyweights.
So, who are Uganda’s new Big Three?
For this discussion, the new Big Three should ideally comprise artists who emerged between roughly 2010 and 2018, have remained relevant, boast strong music catalogues and have achieved significant commercial and cultural success.
Several names immediately enter the conversation: Eddy Kenzo, King Saha, Sheebah Karungi, A Pass, Ray G, and Radio & Weasel.
Eddy Kenzo
Eddy Kenzo’s rise is one of the biggest success stories in Ugandan music.
After emerging from the Firebase camp and collaborating with artists such as Mikie Wine on “Yanimba,” Kenzo gradually built his own identity and became an international Ugandan star.
His achievements speak for themselves. He won a BET Award, received Grammy nominations and has earned several other international recognitions while performing across different countries.
Kenzo has arguably become Uganda’s most internationally successful musician of his generation. His music has crossed borders in a way few Ugandan artists have managed, making him an obvious candidate for any conversation about a new Big Three.
King Saha
King Saha is another strong contender.
Having started out under Jose Chameleone’s Leone Island camp, Saha eventually established himself as one of Uganda’s leading voices, particularly in the love and Afro-pop music space.
For years, he was respected for his music but did not necessarily command the same superstar status associated with the old Big Three. That perception changed significantly in recent years, particularly after his open association with Bobi Wine and the National Unity Platform (NUP).
His growing popularity was evident at his recently concluded Kololo Festival concert, which attracted a massive audience and sparked the debate over whether Uganda’s musical hierarchy has changed.
Sheebah Karungi
If there is one woman who deserves to be part of this conversation, it is Sheebah Karungi.
For close to a decade, Sheebah has remained one of Uganda’s most consistent and commercially successful female artists. From her days with Team No Sleep to her solo career, she has built a catalogue of hits, a loyal fan base and a strong stage presence.
Her longevity and ability to remain relevant in an industry dominated by male artists make her difficult to ignore.
Cindy Sanyu could also make a strong case for inclusion, but Sheebah’s consistency, popularity and influence over the past decade give her a particularly strong claim.
Radio & Weasel
Radio & Weasel arguably deserve to be mentioned because they were among the first acts to seriously challenge the dominance of the old Big Three.
The duo ushered in a new generation of Ugandan music and paved the way for artists such as Eddy Kenzo, King Saha, Fik Fameica and many others.
Their music remains influential, and their catalogue continues to speak for itself.
However, Radio’s death changed the trajectory of the duo. Weasel has continued his career, but it becomes difficult to place him individually in the same conversation. As a duo, Radio & Weasel unquestionably belong among the most influential acts of the post-Big Three generation.
A Pass
A Pass represents a completely different side of Uganda’s modern music industry.
His music is more urban and digitally driven, with a strong emphasis on songwriting, experimentation and English-language music, while still incorporating Luganda.
Although he may not command the same traditional concert numbers as some of the other artists on this list, his catalogue, versatility and influence among younger audiences make him a serious contender.
A Pass represents a generation of artists who have built their careers differently from the old-school musicians, relying heavily on digital platforms and changing listening habits.
Ray G
Then there is Ray G, who has perhaps achieved something unique: successfully breaking out of Uganda’s traditional music centres and becoming a major regional star.
The western Uganda-born artist has built a strong following beyond his home region and has demonstrated his ability to bring large audiences to major venues.
His concerts at Lugogo Cricket Oval and Kololo Airstrip, among others, have strengthened his case as one of the biggest artists to emerge from outside Uganda’s traditional Kampala music establishment.
His rise also demonstrates that Uganda’s music industry is no longer solely defined by artists from Kampala.
So, who really makes the new Big Three?
There is no single correct answer.
If international success is the main measurement, Eddy Kenzo has an extremely strong case. If consistency, popularity and cultural influence are the criteria, Sheebah is difficult to leave out. If recent momentum and massive local fan mobilisation matter most, King Saha has strengthened his argument considerably.
Radio & Weasel remain historically important, although Radio’s passing makes it difficult to assess them as an active duo. A Pass represents the digital generation, while Ray G brings regional influence that deserves greater recognition.
Perhaps the bigger point is that Uganda’s music industry has changed. The era when Bebe Cool, Jose Chameleone and Bobi Wine automatically dominated every conversation is gradually becoming history.
The question is no longer whether there is a new Big Three. The real debate is who deserves to be in it — and what should be used to measure greatness?
For now, Eddy Kenzo, King Saha, Sheebah Karungi, A Pass, Ray G and Radio & Weasel all have a case to make. The final ranking, however, is up to the fans.
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