DJ Roja, born Rogers Kitaka, has opened up about a memorable and somewhat shocking moment involving media personality MC Kats.
Recounting the experience, DJ Roja revealed that the incident occurred during rehearsals at Club Rouge, at a time when MC Kats had taken on the role of his creative director.
Kats was guiding him on how to carry himself on stage and perfect his overall performance.
According to Roja, as he attempted to follow the instructions given to him, Kats suddenly slapped him on the back and shouted, urging him to “walk with swag.”
The unexpected action caught him off guard, but it came with a strong message about stage presence and confidence.
Despite how it may sound, DJ Roja emphasized that he took the moment in good faith. He believes MC Kats was simply pushing him to improve and saw great potential in him even then.
One time, MC Kats slapped me. He shouted at me, saying he was trying to promote me and that I was embarrassing him.
We were rehearsing for a show at Rouge, and he was directing me on how to make my appearance. When I started doing what he had told me, he spanked me, urging me to walk with swag.
It wasn’t out of bad faith—he was trying to groom me. He saw potential in me.
Today, DJ Roja looks back on the incident as a tough but formative moment that contributed to shaping him into the performer he is now.
Jowy Landa has opened up about her struggles with local management, revealing the personal reasons behind her decision to move away from Ugandan-based managers.
Speaking in a recent interview on Radio 4 UG, she explained that her experiences with different managers have often ended badly.
According to her, some were outright unprofessional, while others crossed serious boundaries, including instances of violence, which she firmly condemned.
One incident that stood out was with a former manager who reportedly expressed romantic intentions toward her despite their professional relationship.
I chose to step away from Ugandan management after my former manager expressed interest in marrying me yet I’m still little. Situations like this highlight why many artists prefer to manage themselves to maintain clear professional boundaries.
She said that experiences like these are part of the reason many artists today choose to manage themselves or establish their own management structures, to maintain control and protect their personal and professional space.
Currently, she is working with a management team based in South Africa. Despite the distance, they coordinate closely with agents on the ground in Uganda and travel when necessary to support her career.
“I chose to step away from Ugandan management after my former manager expressed interest in marrying me. Situations like this highlight why many artists prefer to manage themselves to maintain clear professional boundaries” – @JowyLanda17#Radio4KiwoowoFriday || #Radio4UGpic.twitter.com/lP1W7kGI5S
— Radio 4 |103.3 FM Ensunsuzi (@Radio4UG) April 4, 2026
There’s something brutally honest about hindsight and for Weasel Manizo, it comes with a story that stings just a little.
Speaking in an interview, Weasel peeled back the curtain on a moment that now feels almost unbelievable. Back then, he and the late Mowzey Radio were chasing a collaboration with Nigerian star D’banj. The plan seemed simple, link up, hit the studio, make magic. But D’banj had other ideas.
They had first connected in Burundi, and while the Ugandan duo was eager to record, D’banj hesitated. Instead, he encouraged them to travel to Nigeria, promising to sort everything. When they finally linked up again during the MTV Awards in Lagos, they thought their moment had arrived but it hadn’t.
D’banj, perhaps sensing a shift in the industry or simply trusting his instincts, told them he was getting older and didn’t have the time for studio sessions. Then, almost casually, he looked around and called over a young, relatively unknown artist—Wizkid—suggesting that the collaboration should happen with him instead.
To Weasel and Radio, it felt like a dismissal. A downgrade. An insult.
They refused but what followed now plays out like a scene from a movie.
The same Wizkid they had brushed off stayed around them, humble, running small errands—fetching vests, toothpaste just another young hopeful trying to find his footing.
Six months later, reality hit hard. Seated together, Weasel and Radio watched MTV as the same “errand boy” they had overlooked lit up the screen. “Holla at Your Boy” was everywhere. Wizkid wasn’t just rising—he had arrived.
The mighty National Enterprises Corporation, long celebrated as the commercial engine of the UPDF and a pillar of Uganda’s industrial ambitions, is now staring at a storm of accountability questions after the Auditor General’s December 2025 report exposed deep-rooted weaknesses, lapses and glaring management failures across its headquarters and sprawling subsidiaries.
At the center of the heat is a powerful board chaired by Gen. (Rtd) Joram Mugume, whose tenure expires this July, alongside Vice Chairman Prof. Charles Kwesiga and a heavyweight line-up of senior military and civilian figures, with overall operations under Managing Director Lt. Gen. James Mugira, deputized by Maj. Gen. (Rtd) Innocent Oula. But despite this formidable leadership bench, the audit paints a picture of an institution struggling to keep its systems in order.
At headquarters, the cracks are impossible to ignore. The Corporation is operating without an asset management policy, meaning there is no clear guide on how billions worth of assets are acquired, maintained or safeguarded. Even more troubling, the assets register itself is incomplete, lacking critical information necessary for proper evaluation and maintenance planning.
In an era of digital transformation, NEC is still stuck in the past, running a manual accounting system where transactions are recorded in Microsoft Excel cashbooks instead of an integrated system, a practice that “compromises the integrity of the financial information.”
Procurement compliance is equally shaky, with NEC failing to submit mandatory monthly reports to PPDA on time, while its strategic plan running from 2021 to 2026 is not aligned to the National Development Plan III timeline, raising questions about planning coherence.
Oversight mechanisms are weak, with no annualized monitoring and evaluation plan, leaving management without a structured way to track performance or make timely decisions.
Yet within this troubled giant, there are flashes of promise. At NEC Construction Works and Engineering Ltd under Eng. Brian Buhanda, the numbers show growth, with earnings before interest and tax rising to UGX 8.40Bn and profits after tax hitting UGX 5.88Bn, both showing steady improvement.
But even here, the positives are overshadowed by rising receivables now standing at UGX 23.5Bn, including UGX 1.3Bn owed by a government entity for over a year.
The company lacks its own independent board, has no business strategy and no asset management policy, leaving governance hanging in the balance. Out of 15 major construction projects worth UGX 275.334Bn reviewed, only three had been completed, with the rest still dragging on.
At NEC Security Services, led by Brig. Gen. Moses Mwesigwa, the situation turns grim. The company has no independent board, no business plan, no insurance policy and no automated accounting system.
Revenue performance is dismal, with only UGX 2.67Bn realized out of a projected UGX 6.453Bn, translating to just 41 percent. The company is bleeding, posting a negative margin of 18 percent, a negative return on assets of 16 percent and a net loss of UGX 467 million in just its second year of operation, raising fears about its sustainability.
Over at NEC Agro under Eng. Simon Baalwa Terwane, the numbers tell a mixed story. While profits have increased by 15 percent, payables have ballooned from UGX 5.08Bn to UGX 9.3Bn, an alarming 83 percent surge, even as receivables dropped sharply.
The company lacks both a board and a business plan, making it nearly impossible to assess long-term performance. At the Kakooge grain milling plant in Nakasongola, construction is complete and ready for operations, offering a glimpse of progress, but gaps in planning and execution still loom large.
The situation at NEC Farm Katonga, managed by Col. (Rtd) John Kagwisa Rwasamari, borders on crisis. Financial performance stands at just 33 percent, with most outputs only partially implemented and some lacking measurable indicators altogether.
The farm continues to make losses, posting UGX 1.57Bn in the year under review, while its return on assets remains stuck in the negative at -17.6 percent.
Operational weaknesses are glaring, from lack of vaccination schedules and treatment records to absence of biosecurity protocols and automated systems. Even livestock numbers are shrinking, dropping from 1,025 to 963 cattle within a year, a worrying decline for a flagship agricultural enterprise.
In contrast, NEC Uzima Ltd under Maj. Edgar Mugizi Ankwasa offers a rare bright spot. The company has recorded improved production and sales, achieved an operating margin of 24.23 percent and increased profits to UGX 0.589Bn.
Its return on assets surged to 23.13 percent, and liquidity remains strong. Yet even here, governance gaps persist, with no asset management policy and board overlap with the parent company, contrary to corporate governance requirements.
NEC Luwero Industries Ltd, headed by Maj. Gen. Sabiiti Muzeeyi, stands out as a high performer, delivering profits of UGX 12.1Bn and a strong operating margin of 35 percent. The company boasts healthy returns and low debt levels, reinforcing its position as a key pillar of NEC’s industrial ambitions.
However, even this success story is not without flaws. The company lacks a documented business strategy and asset management policy, and its board structure raises governance concerns. Questions also linger over joint ventures, including missing financial statements and lack of reported performance results, while expected dividends failed to materialize in the year under review.
Across the entire NEC empire, a pattern emerges: strong potential weighed down by weak systems, poor coordination and gaps in governance. From manual accounting and missing policies at headquarters to loss-making subsidiaries and incomplete projects, the audit reveals an organization struggling to match its ambition with execution.
And yet, credit must be given where it is due. NEC remains a cornerstone of Uganda’s industrial and defence-linked economic vision, with profitable arms like Luwero Industries and NEC Uzima demonstrating that success is possible when systems work. The Corporation’s legacy of driving innovation, supporting the UPDF and contributing to national development remains intact.
But as the Auditor General’s findings ripple through the corridors of power, the pressure is mounting on Gen. Mugume, Lt. Gen. Mugira and their entire leadership team to urgently fix the glaring weaknesses threatening to derail this strategic institution.
With billions at stake, systems in disarray and performance uneven across subsidiaries, the message is loud and clear: NEC must get its house in order—or risk watching its hard-earned legacy crumble under the weight of its own inefficiencies.
KAMPALA — Kampala’s party scene hit a new high Saturday night as Etania Mutoni—better known as Life of the Party—pulled off a fully sold-out debut concert at Lugogo Hockey Grounds, cementing her arrival as a serious force in Uganda’s entertainment industry.
This wasn’t just another show—it was a statement.
By 8PM, Lugogo was choking with revelers, all turning up for what is now being hailed as the first major solo, stadium-scale concert headlined by a Ugandan female DJ. And Etania didn’t disappoint.
Not just a DJ set—this was a full-blown spectacle
Forget decks and playlists—Etania came with a production.
Backed by choreographers Mayani, Zaq, Cohen Guru and Evans Vivo, she delivered a high-energy set that blurred the line between DJing and a live concert performance. Dance, transitions, crowd work—everything was dialed up.
At one point, she ditched the usual glam, rocking a fringe outfit and headwrap, dancing wildly and even crowd-surfing as lasers cut through the night. A viral clip from NRG Radio UG summed it up perfectly: “No wig, no problems!”
Heavyweights show up—and show out
The lineup was stacked.
Joshua Baraka, her partner, brought the emotional touch with smooth vocals
Big Tril injected raw energy that sent the crowd into overdrive
Rising DJs Ames and Ri Deejay held their ground, proving the next generation is ready
With support from Lynda Ddane, MC Viana Indi and the Ssese Nation crew, the night had the feel of a movement—not just a concert.
Brands, lights, madness
Sponsors Smirnoff and Mirinda turned the venue into a carnival—interactive bars, neon photo booths, and a buzzing experiential zone that kept fans locked in all night.
More than hype—this was history
Etania’s rise has been anything but smooth.
The 27-year-old only jumped into DJing in 2022 after years as an MC and TV host. From hustle beginnings to commanding one of Kampala’s biggest stages, her story is already resonating with a generation chasing breakthrough moments.
And Saturday night proved one thing: she’s no longer coming up—she’s arrived.
The bigger picture
Beyond the music, this was a win for female entertainers in a male-dominated space. A sold-out show of this scale sends a loud message—women can headline, sell out, and dominate big stages too.
As one fan posted: “She came. She saw. She conquered.”
Not hype—just facts.
Watchdog Uganda will be watching closely. Because after Lugogo, the question is no longer who is Etania Mutoni?
It’s what’s next?
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Kampala’s evolving social scene continues to tilt toward more intentional, daytime experiences. And the upcoming Spinny & Friends BBQ Easter Sunday outing is positioning itself right at the center of that shift.
Set to take place at the splash Mezo Noir lounge, in Kololo, the latest edition of the Spinny and Friends Experience promises a perfect Easter Sunday, complete with music, food, and premium tequila culture, in a unique format that moves away from the city’s traditional late-night template.
Curated by DJ Spinny, and backed by Don Julio, the event leans into a relaxed and more social rhythm- one that builds from mid-afternoon ease into a sunset-driven crescendo.
Over time, Spinny & Friends has carved out a niche within Kampala’s creative community, drawing a crowd that is as interested in atmosphere as it is in sound.
This edition sharpens that identity. Rather than hinging on headline acts, the experience is anchored in collective energy, with a rotating lineup of DJs—Spinny’s “friends,” tasked with guiding the day’s sonic direction, from soulful selections into Afro-house and Amapiano.
But it is the introduction of the BBQ element that signals a more deliberate layering of lifestyle and Easter celebration.
The grill becomes more than a food station; it is part of the experience’s texture; smoke, aroma, and shared plates folding into the music, to create a setting that feels at once relaxed and considered. It is an approach that mirrors a broader cultural pivot in Kampala, where social gatherings are increasingly designed around connection rather than excess.
“Spinny and Friends is always about creating spaces where people genuinely connect,” says DJ Spinny. “This edition brings it back to the basics; good music, good food, and good people, but done in a way that feels elevated.”
That sense of elevation extends to the drinks menu, with Don Julio curating a selection of cocktails alongside its tequila range that includes Blanco, Reposado, Añejo, and the premium 1942.
For the brand, the partnership is as much about cultural alignment as it is about visibility.
“Spinny and Friends speaks to a generation that values authenticity and shared experiences. This collaboration allows us to be part of moments that feel both premium and personal,” said Judie Nandekya, Senior Brand Manager Tequila and Rum East Africa.
Gates will open at 3pm, with table packages starting from Shs 1m and scaling up to premium offerings featuring Don Julio 1942. Bookings can be made via 0775 050041 or 0751 308160.
Veteran Ugandan artiste KS Alpha has pushed back against claims that he stepped away from music, insisting he never took a break.
Once a dominant name in the industry, the Afro-reggae and dancehall singer has recently stayed out of the spotlight, leading many to assume he had shifted focus.
But speaking on Sanyuka Uncut, KS Alpha said the reality is different, explaining that he only changed his approach while staying active.
I did not take a break. However, I changed the way I do things, and people who really follow me know that even the music has changed a bit, but I have not lost track of the goal. As time passes, you cannot keep doing the same thing. Even in business, you cannot do it the same way you were doing it 20 years ago.
He also pointed to his longevity, noting that his music stretches across generations.
I have songs that are older than some of the artistes. We have artistes who are 20 or 22 years old, yet I have songs that are over 24 or 25 years old.
To further dismiss claims that he is inactive, the singer highlighted recent moves, including a concert he held late last year.
I even had a concert in December, late last year at the National Theatre. I am around and still working.
Despite reduced visibility, KS Alpha insists he remains active and focused, continuing to evolve with time.
Dax Vibez has stirred the pot in a bold, no-holds-barred interview, making it crystal clear that not everyone in the game meets his standards!
Speaking on Galaxy TV with Rewind Team, Dax didn’t mince words as he revealed why fellow stars Joshua Baraka and Eddy Kenzo haven’t made his personal “greatness list.” And no, it’s not about hits, fame, or charts! Dax Vibez dropped a bombshell: for him, real greatness goes beyond individual wins. He’s looking for legends, game-changers who open doors for others, not just shine solo.
The “Believe” hitmaker pointed to African heavyweights like P-Square, 2Face Idibia, and D’banj as his gold standard.
“There are many Nigerians who made it internationally and opened doors for many others, so I want that Godfather who opens doors for very many so that our industry goes out there, to be exported.”
According to Dax, these icons didn’t just go global, they kicked the door open for an entire generation!
In a brutally honest take, Dax Vibez criticized Uganda’s music industry for what he sees as a flawed strategy, pushing one artist at a time onto the world stage.
‘We want someone who will reach there and not gatekeep the links, they share the links with others. I’ll do it myself if they fail, let them give me the responsibility.”
Enock Mugabi aka iWitness is a Journalist, Seasoned Writer and Music Analyst with a passion for sports. Connect with him on social media using the links below in bio.
Etania delivered a commanding performance at the “Becoming Life Of The Party” concert as the Smirnoff Fiesta lit up the night with a charged crowd that came ready for nothing but vibes.
From the moment she stepped on stage, the energy surged—fans singing along, hands in the air, and phones capturing every second of the electric set.
Backed by a lively build-up from DJs and hosts, the night blurred the lines between concert and full-on party.
The crowd didn’t just watch—they became part of the show, dancing, chanting, and feeding off Etania’s presence under the red-lit atmosphere that defined the Smirnoff experience.
Beyond the stage, the fiesta unfolded as a celebration of youth culture—bold fashion, spontaneous moments, and nonstop connection.
From daytime revelers to the late-night crowd, it was a seamless wave of energy that proved once again: when the music hits and the people show up, the night writes itself.
King Saha, one of the most booked Ugandan performers, says he takes on any opportunity to earn money in the current economic climate, and does not set fixed prices for his bookings.
Fixed prices for bookings have been a way for several local artists to regulate their schedules by only taking on those well-paying gigs.
Often, gigs outside Kampala attract higher pay, which is why artists usually long to perform upcountry at least once every week.
Within the city, entertainers are booked within the Ugx1.5m to 6m, and above, depending on what the artist’s team sets out.
King Saha, however, says he has forever declined to set a minimum price as his booking fee because the economy is bad and he has financial goals to beat.
I haven’t put a fixed price for my bookings. Whatever I am given, and it’s worth it, I will take it. You cannot call me with an opportunity, and I have some financial issues to fix, and I refuse to take on the job.
In such a terrible economy, you have to take on each given opportunity. In a bad economy, you cannot set standards of payment.
