Category: News

Ugandan singer and songwriter Nince Henry has shared a humorous story about how a seemingly harmless conversation about shoes allegedly brought an end to his friendship with a fellow artiste.

Nince Henry said the incident began after he spotted his colleague wearing a pair of shoes he believed were from luxury fashion house Prada.

Impressed by what he thought was an expensive pair, the singer asked his fellow artiste where he had got the shoes.

The answer appeared to make the footwear even more impressive.

“He said they brought it for him from London!” Nince Henry recalled.

But there was a small detail Nince Henry had apparently overlooked — the name on the shoes.

After taking a closer look, he realised they were not Prada, but Prado.

“Konze ok but the last letter. It’s a O instead of an A. He was wearing a PRADO,” he joked.

According to Nince Henry, the discovery did not end with a correction about the shoes. He jokingly claimed it also marked the end of their communication.

“Since then we don’t talk!” he added.

The humour in the story, however, appears to lie less in the brand itself than in the confidence with which the shoes had initially been presented as Prada — complete with a London backstory.

For Nince Henry, the episode became one of those small, funny encounters where a single letter can completely change the story.

Prada may have been the name he expected to see, but Prado was what was actually on the shoes — and, in his telling, that was enough to turn a simple fashion conversation into an unexpected friendship joke.

One day I saw one of my fellow artistes wearing a PRADA
and I asked him where he bought such a dope shoe. He said they brought it for him from London! Konze ok but the last letter. It’s a O instead of an A. He was wearing a PRADO Since then we don’t talk!

— Nince Henry (@nince_henry) September 7, 2026

Chris Rock has revealed the one thing that could bring him back to the Oscars four years after Will Smith slapped him onstage.

The American comedian and actor says he would return to the Academy Awards only if the ceremony nominated him for an Oscar.

I am not getting nominated. The only way I will go back is if I am nominated, and I am not getting nominated.

Rock made the comments while speaking to Variety about his new movie, “Misty Green,” which he wrote, directed and stars in.

The 61-year-old comedian previously hosted the Oscars in 2005 and 2016. He has not returned to the ceremony since Smith walked onto the stage and slapped him during the 2022 broadcast.

Rock does not appear interested in hosting the show again either.

When asked whether he could return as host, he praised current hosts Conan O’Brien and Nikki Glaser before admitting that his time might have passed.

I am not going to say never, but my time might have passed, honestly.

Rock also briefly addressed the infamous 2022 incident but refused to let it overshadow his new film.

I wish nothing would have happened.

He added that his experience that night does not feel like the biggest problem in the world to him.

Me having a bad day is not the biggest, it is not that important.

Smith later apologized publicly for the incident, while the Academy banned him from attending its events for 10 years.

For Rock, however, the Oscars appear to belong to the past unless the Academy gives him a reason to come back.

And for now, he is not expecting that invitation.

When Uganda’s music stars came together for “Whistle” in the 2010s, the result was one of the era’s most notable all-star collaborations.

Produced by Just Jose at Swangz Avenue, the song brought together artistes from different musical backgrounds, including Rabadaba, Mun G, Cindy Sanyu, Navio, Radio & Weasel and GNL Zamba, among other prominent names.

But one major artiste who was expected to feature on the record was missing from the final version — and musician Viboyo has now revealed why.

According to Viboyo, Michael Ross was initially lined up for the collaboration, with the verse eventually performed by former Tusker Project Fame winner Davis Ntare having originally been written for him.

The plan changed after Ross heard the verse and decided that it did not represent him as an artiste.

Viboyo said Ntare had written the verse specifically for Ross, but rather than take on material he could not connect with, Ross opted out. The team subsequently kept the verse and allowed Ntare, its original writer, to perform it himself.

“The Davis Ntare verse was initially supposed to be Michael Ross’s verse. Ntare wrote it for Michael Ross and Michael Ross did not feel it, so they decided to keep it all that. He felt it wasn’t him,” Viboyo said.

That decision quietly changed the make-up of a song that would go on to bring together some of the most recognisable voices in Ugandan music at the time.

For listeners familiar with the final version, Ntare’s contribution became part of the song’s identity. But Viboyo’s account offers a glimpse into how collaborations can change in the studio, sometimes leaving the public with a very different record from the one initially planned.

In the case of “Whistle”, what began as a verse intended for Michael Ross ultimately became Davis Ntare’s moment on the song.

https://www.youtube.com/watch?v=rU8a0tuwFHc

“Ugandan fans carried me through some of my most difficult moments when I was starting out in the 1990s, and they continue to show me immense love today,” Redsan told Social Scene in an interview.

Three decades later, the Kenyan dancehall artiste has not forgotten the audience that stood by him during his formative years. After celebrating 30 years in music with a star-studded concert in Nairobi, Redsan is considering bringing the anniversary celebration to Kampala.

“I would love to bring REDSAN@30 to Uganda,” he said. “It is something I am seriously considering.” Held at Carnivore Grounds in Nairobi on August 29, 2026, REDSAN@30 brought together some of East Africa’s prominent musical names, including Jose Chameleone, A.Y., Bebe Cool, Jua Cali, Daddy Owen, Necessary Noize duo Nazizi and Wyre, and Nyla of the Jamaican-American duo Brick & Lace. Kenyan musician Nameless made a surprise appearance.

The performers were artistes who had collaborated with Redsan or shared different chapters of his musical journey. He said the choice of guests was personal. “I had always wanted to celebrate this milestone with my fans, but I wanted the occasion to be truly special. That is why I invited many of the artistes I have worked with across my previous albums,” he explained.

Their presence, he added, demonstrated that the collaborations had created relationships that endured beyond the recording studio. “The line-up meant a great deal to me. Our collaborations were never merely about recording songs; they created lasting relationships and continued to bear fruit years later,” Redsan said.

Comedian and actor Hannington Bugingo, who attended the concert, said that sense of enduring friendship was especially evident backstage. Away from the performances, some of East Africa’s leading artistes caught up, chatted and reminisced about the experiences that had shaped their careers.

He described the occasion as a nostalgic reunion of musicians whose individual journeys had developed alongside the growth of the East African music industry. Among them were Bebe Cool and Jose Chameleone, whose careers developed alongside Redsan’s during the emergence of a more connected regional music scene. Bebe Cool traces his relationship with Redsan to Nairobi in 1998.

What began as an association between young artistes pursuing similar ambitions grew into a brotherhood. “I look at the 30 years as life rather than just music. This is where we have made our lives; it is home and it is the path we chose,” Bebe Cool said.

He described the concert as a reunion of long-serving artistes and a reminder to younger performers that careers can endure. “Entertainment never stops. It stops only when you choose to stop,” he said.

Chameleone places Redsan among the artistes who helped East African popular music move from an era dominated by mime performances and karaoke to original compositions, distinctive sounds and a stronger regional identity.

“Redsan is one of the pioneers and architects of East African music. He helped create an East African sound that has lasted for three decades,” Chameleone said. “You cannot talk about Kenyan music without talking about Redsan, and you cannot talk about East African music without recognising him as one of Kenya’s defining representatives.”

The two artistes share recording history through Bageya, one of the cross-border collaborations that introduced their respective audiences to a wider East African music scene.

An early turning point in Redsan’s career came in 1998 when he won the Star Search competition at Carnivore in Nairobi. He later joined the Ogopa Deejays stable, which was instrumental in shaping Kenya’s popular music at the turn of the millennium.

His 2002 debut album, Seasons of the San, featured songs such as Julie and Wanipa Raha. It was followed by Red in 2004 and Pioneer in 2006, strengthening his standing as one of the region’s most recognisable ragga and dancehall voices.

Kenyan rapper Jua Cali said few artistes remain active long enough to celebrate three decades in the industry. “To perform with him was to celebrate him and to celebrate our legends,” said Jua Cali, who is marking 25 years in music in 2026.

“Redsan has contributed so much to taking our sound and Kenyan music to the world.” Gospel artiste Daddy Owen said it was an honour to be personally selected for the concert. He named Chameleone’s appearance as his favourite performance of the night.

“What a legend,” he said. Nyla attributes Redsan’s longevity to his talent, professionalism and devotion to dancehall. “The enduring love and support he receives from his fans are a testament to his talent, professionalism and genuine passion for music,” she said.

For Redsan, however, the larger achievement belongs to East Africa. “I have always had a vision of making East Africa a leading force in African music,” he said. “I am proud of what we have achieved through collaboration, unity and a shared belief in our sound.”

A Kampala edition would bring that celebration to an audience that helped transform Redsan’s Kenyan career into an East African story. For now, however, no date, venue or promoter has been announced.

Chris Brown was just 12 years old when disgraced music mogul Sean “Diddy” Combs passed on signing him.

The American singer revealed the surprising story during a 2022 appearance on “Drink Champs,” where he recalled auditioning for Diddy before launching his solo career.

Brown said he was part of a group with T.J., the son of one of his production managers, when they went to meet Diddy.

The funniest part, like, a lot of people don’t know this, Diddy turned me down. I was 12 years old.

The young Brown and T.J. performed two songs during the meeting.

Brown explained that he sang the chorus on one track and the bridge on another, while describing how different his voice sounded at the time.

The group did not even have a name.

N.O.R.E., one of the podcast’s hosts, joked that the lack of a group name might have worked against them.

Brown, however, said he and T.J. believed their talent would speak for itself.

Despite Diddy’s decision, Brown’s career quickly moved forward.

He later connected with Def Jam and eventually signed with Jive Records before releasing his debut single, “Run It,” in 2005.

The song became a major hit and launched Brown into stardom while he was still a teenager.

Brown said he did not hold the early rejection against Diddy.

It is love now. That is family, that is my brother now.

What started as a missed opportunity for Diddy ultimately became one of the biggest success stories in modern R&B.

Brown went on to build a career spanning more than two decades, with multiple Grammy Awards and a catalogue of major international hits.

Diddy’s decision at the time shows just how difficult it can be to predict which young performers will eventually become global stars.