Category: News

If December owns nostalgia, then Easter has quietly claimed its place as Uganda’s most indulgent social holiday, a long weekend that invites Kampala’s revelers to fully surrender to music, nightlife and the simple joy of gathering.

This year was no exception.

On Good Friday, The Villa filled steadily as patrons streamed in for its now customary live band night, a growing staple within the city’s nightlife ecosystem. Across Kampala, live music has evolved from a niche offering into a defining feature of urban leisure, with bands like Abeeka Band, Janzi Band, and Vanessa and the Band building loyal audiences through tightly curated performances that blur the lines between nostalgia and contemporary sound.

At The Villa, The Maestro’s Band has been steadily contributing to this movement, crafting a reputation for dynamic sets and strategic collaborations. In recent weeks alone, they have shared the stage with artists like Lilian Mbabazi, whose vocal range and storytelling added depth to their repertoire.

Good Friday’s edition, part of the broader Tusker Malt and The Singleton Band Nights platform, leaned into this collaborative spirit. The night’s guest was Mbarara-based singer T-Paul, whose arrival signaled a shift from a routine performance into something more electric.

Tusker Malt and The Singleton Band Nights feed into Kampala’s live band phenomenon, curating memorable nights but at the same time give people a chance to express while experiencing the two brands.

“Our focus with Tusker Malt Band Nights is to celebrate the richness of Uganda’s live music culture by creating platforms where artists and bands can truly connect with their audiences. Nights like these show that live performance is not just entertainment, it’s an experience that brings people together, and we are proud to be part of that story,” said Sandra Againe, the brand manager, Tusker Malt.

The band eased into the night just before 10pm, working through a fluid setlist that oscillated between contemporary hits and old-school classics. The audience, buoyed by the elasticity of a long weekend, responded with equal enthusiasm, indulging in sing-alongs, call-and-response moments, and the occasional comic relief from media personality Isaac Katende.

There was an ease to the night: cocktails circulated, beer buckets made their rounds, and the crowd settled into a rhythm that felt both familiar and anticipatory. Then T-Paul stepped on stage.

Fresh off a high-energy showing at the Tusker Lite Neon Rave in Mbarara, he carried that same momentum into Bukoto. His set was equal parts performance and communion, running through crowd favorites like Nyamunyonyi, Ekirabo, and Sawa Sawa (his collaboration with Lydia Jazmine), each delivered with a confidence that kept the audience firmly in his grasp.

But it was his awareness of the moment that stood out. Acknowledging the Easter weekend, T-Paul pivoted into gospel, briefly transforming the venue into something akin to a late-night fellowship. Joined by two vocalists, he steered the crowd through a soulful interlude that blurred the boundaries between performance and  worship, before seamlessly returning to the high-energy set that had defined the evening.

Moments like these underscore why live band nights continue to resonate. Beyond the music, they offer unpredictability, spaces where genres collide, artists experiment, and audiences become active participants rather than passive listeners.

In Kampala today, that experience is increasingly being shaped by platforms that understand the cultural currency of live performance. Without overwhelming the stage, brands like The Singleton and Tusker Malt have positioned themselves within these spaces, less as sponsors and more as enablers of a nightlife culture that values authenticity, collaboration, and musicality.

As the night at The Villa stretched into the early hours, one thing was clear: live band culture is no longer just an alternative, it is the main event.

Related

If landing an internship at the Bank of Uganda has been on your radar, mark your calendar for Monday, April 27, 2026 — that is the date applications officially open for one of the most competitive and prestigious student internship programmes in the country.

The Bank of Uganda announced on April 2, 2026 that its 2026 Internship Program will comprise three separate one-month intakes running in June, July, and August 2026. Applications close at close of business on Friday, May 8, 2026 — giving interested students a narrow but workable window of less than two weeks from the opening date to get their applications in order.

The Bank of Uganda is Uganda’s central bank — the institution responsible for formulating and implementing monetary policy, regulating and supervising financial institutions, managing the country’s foreign exchange reserves, and issuing currency. An internship at the Bank of Uganda is not a typical placement. It is a front-row seat to the mechanics of Uganda’s financial system, and a credential that carries significant weight on any CV in the banking, finance, economics, or public policy space.

For students in relevant disciplines, this is among the most valuable professional development opportunities available in Uganda at the undergraduate level.

Selection for the programme is based on a combination of criteria that applicants must meet. The Bank requires a minimum Cumulative Grade Point Average of 3.6 — meaning this programme is targeted at academically strong students who are performing consistently well in their studies. Applicants must also be continuing students — meaning you must currently be enrolled at your institution, not a recent graduate.

Critically, the relevance of your course of study to Bank of Uganda operations will be a significant factor in the selection process. Students in Economics, Finance, Accounting, Statistics, Computer Science, Law, Business Administration, Engineering, and related disciplines are most likely to be considered, though the Bank has not published an exclusive list of eligible courses.

Selection will also operate on a first-come, first-serve basis among qualifying applicants — meaning that once you are ready, you should not wait.

Your application must include three documents submitted together as a complete package. A cover letter addressed to the Bank of Uganda. A recent certified academic transcript or testimonial showing your full results for your first and second year of study — provisional results will not suffice, and the transcript must be certified. An introductory letter from your institution of study confirming your current enrolment status.

All applications must be submitted online through the Bank of Uganda’s official website. The specific application link will go live on April 27, 2026.

If you submitted an application to the Bank of Uganda’s internship programme before this announcement was made, your earlier submission will not be considered. The Bank has explicitly requested that all previous applicants reapply using the new official online application link that will be available from April 27. Do not assume your old application is still active — reapply through the official channel.

Applications open: Monday, April 27, 2026. Application deadline: Close of business, Friday, May 8, 2026. Internship intakes: June, July, and August 2026 — one month each.

How To Prepare Before April 27

Since applications open in less than a month, now is the time to get your documents ready so you can apply immediately when the portal goes live. Begin by obtaining a certified copy of your academic transcript from your institution’s registrar — this process can take several days at most universities, so do not leave it until the last minute. Draft your cover letter now, tailoring it to the Bank of Uganda’s mandate and clearly articulating how your course of study is relevant to central banking operations. Request your introductory letter from your institution’s Dean of Students or Academic Registrar as soon as possible. And visit the Bank of Uganda website regularly from April 27 to locate the application link the moment it appears.

Given the first-come, first-serve element of the selection process, being ready to apply on opening day could make a meaningful difference to your chances.

Application portal goes live: www.bou.or.ug from April 27, 2026

Deadline: Close of business, Friday, May 8, 2026

On Friday night, at Nomad Bar & Lounge, the moment an 1942 bottle was ordered, the room shifted. The music dipped just enough to make space for the ritual, then the now iconic ‘rip’ soundtrack buzzed out of the speakers,  in theatrical rhythm, bringing about a break in conversation.

And then the procession began; a 1942 bottle lifted above shoulders, carried through the crowd like a small, glowing trophy. Heads turned, phones rose, and for a few seconds, everyone belonged to someone else’s celebration. Then, just as quickly, the music reclaimed the room.

But if the bottle was the spark, the night itself was built elsewhere, on the dancefloor, in the DJ booth, and in the easy, unforced rhythm of a space settling into its identity.

The occasion doubled as the unveiling of a new partnership, dressed up as A Night in Mexico. It was less about literal translation and more about suggestion.

Musically, the night understood its assignment.

Danny Deep, leading the lineup, resisted the temptation to chase instant highs. His set moved with patience, deep house at its core, layered with percussive textures that allowed the room to build rather than spike. It was the kind of set that trusts the crowd to arrive, not be dragged. Around him, the resident DJs kept the energy elastic, stretching between familiar rhythms and more exploratory turns without losing the floor.

And that is where the night found its balance.

Because while the spectacle of the bottle repeated itself, again and again, each time greeted with the same brief rupture of attention, it never quite overtook the music. If anything, it became part of the choreography of the room: a recurring interruption that people acknowledged, then moved past, returning to their own pockets of rhythm.

Around this, Don Julio’s presence was deliberate, but measured. The bar carried the full range, with cocktails and bottle service folding naturally into the night’s rhythm rather than competing with it. The focus, particularly on the 1942 expression, leaned into ritual, presentation, anticipation, and that now-familiar procession through the crowd, less as intrusion and more as theatre that the room had come to expect.

“As a luxury tequila, we are always looking for ways to elevate how our consumers experience celebration,” said Judie Nandekya, Senior Brand Manager for Tequila and Rum East Africa. “The 1942 serves a very particular kind of moment, and partnerships like this allow us to bring that to life in spaces where our audience already feels at home.

There were other details that hinted at a venue thinking carefully about itself. The pacing behind the bar, the spacing on the floor, the way the crowd moved without friction, small things, but they accumulate. Nomad Bar & Lounge, still in its reimagined phase, is beginning to look less like a reopening and more like a place with intent.

What A Night in Mexico ultimately revealed, was not how far a theme could travel, but how easily Kampala absorbs and reshapes these imported ideas. The city does not imitate for long; it edits. By midnight, whatever traces of Cancun had been suggested were gone, replaced by something more familiar, looser, warmer, local.

Related

In Uganda’s music industry, surprises are rarely in short supply. New collaborations drop overnight, alliances shift, and co-signs are sometimes handed out faster than careers can catch up. But every once in a while, a revelation cuts through the noise not because it is loud, but because it is real.

When Iryn Namubiru casually revealed that fast-rising singer Aaronx is her nephew, it was the kind of moment that instantly grabbed attention. Not because of what it could produce musically, but because of what it represents.

In an industry where relationships are often built for relevance, this one is rooted in blood.

Naturally, the expectation is immediate. Fans begin to imagine the duet, the co-sign, the fast track to bigger stages. That is how the system has conditioned audiences to think. If you have a connection, use it. If you have a platform, amplify it now.

But Namubiru is choosing a different path, and that is where the real story lies.

Her response is not driven by hype, but by restraint. Not by urgency, but by understanding. She acknowledges Aaronx’s talent, even suggesting he could write for her, yet she stops short of rushing into collaboration. Instead, she leans into something rarely celebrated in the industry: patience.

“He’s really, really young,” she noted.

It sounds simple, but it carries weight. Because behind that statement is an awareness that not every opportunity should be seized immediately. Some need time to grow into themselves.

There is also a deeper question here about identity. In a space where many young artists struggle to step out of the shadows of bigger names, an early co-sign can sometimes do more harm than good. It can define an artist before they have had the chance to define themselves.

By holding back, Namubiru is not denying Aaronx an opportunity. She is protecting his journey.

And perhaps that is what makes this moment more significant than any collaboration they could release right now. It challenges a culture that often prioritizes speed over substance, visibility over growth.

Because sometimes, the most powerful move is not stepping into the spotlight together.

It is waiting until the moment actually means something.

Don’t want to miss out on any story? For updates on all Sqoop stories, follow this link on Telegram: https://t.me/Sqoop and Whatsapp: https://whatsapp.com/channel

Masaka — The Bishop of Masaka Catholic Diocese, Severus Jjumba, has praised Nyendo-Mukungwe MP Mathias Mpuuga for what he described as rare political maturity, while cautioning leaders against using courts to overturn the will of voters.

Speaking during Easter Sunday Mass at Our Lady of Sorrows Cathedral in Kitovu, Bishop Jjumba said Mpuuga “conducted himself maturely” after losing the Nyendo-Mukungwe parliamentary race to a former Makerere University bursar.

“He has not run to court to frustrate his rivals. Those who lose should wait for another round of elections,” the bishop told the congregation.

Without naming specific individuals, the bishop criticized a growing trend among politicians to “usurp the will of the people via court cases,” warning that leadership cannot be imposed through legal manoeuvres after voters have already spoken.

Courts Flooded with Election Petitions

Jjumba’s remarks come against the backdrop of a rising wave of election-related litigation in Uganda’s courts.

Following the 2016 general elections, the High Court is about to process over 100 parliamentary election petition. Fresh pre-election cases are already emerging ahead of the 2026 polls, pointing to an increasingly litigation-heavy political environment.

The bishop warned that over-reliance on courts risks undermining democratic legitimacy and public trust in electoral processes.

Mpuuga’s Political Weight and NUP Fallout

Mpuuga is no fringe player in Uganda’s opposition politics. He served as Leader of the Opposition (LOP) from 2021 to 2023, where he was credited for bringing structure, discipline, and policy direction to the opposition bench during a politically tense period.

However, his relationship with the National Unity Platform (NUP) later collapsed in dramatic fashion.

The fallout stemmed from a controversial Parliamentary Commission service award, which triggered sharp criticism from NUP leaders led by party president Robert Kyagulanyi. The party accused Mpuuga of betraying its anti-corruption stance and demanded that he apologise and refund the money.

Mpuuga rejected the demands, maintaining the payment was lawful and properly approved. The standoff escalated:

• He was stripped of his role as Parliamentary Commissioner
• A sustained pressure campaign was mounted against him
• He accused sections of NUP leadership of mob justice and intolerance

The fallout ultimately led to his exit from NUP and the formation of the Democratic Front, marking one of the most significant internal splits within Uganda’s opposition in recent years.

Faith, Politics and 2026

Despite the political bruises, Mpuuga has remained influential in the Greater Masaka region, retaining grassroots support and staying active in national politics.

He attended the Easter Mass and later shared a clip of the bishop’s remarks on his X account, saying he was “humbled” by the recognition.

Bishop Jjumba, known for using the pulpit to address governance and electoral integrity, has previously warned against vote-buying and urged voters to reject short-term inducements.

His latest message reinforces a broader argument—that legitimacy must come from the ballot, not the courtroom.

With the 2026 general elections drawing closer, his remarks are likely to reignite debate on whether election petitions are a tool for justice—or an emerging political weapon.

Do you have a story in your community or an opinion to share with us: Email us at Submit an Article

A terrifying attack at the Ggaba Early Childhood Development Program on Thursday morning has left four young children dead and the entire community in shock.

It is alleged that at about 11:00 am an unidentified man armed with a machete stormed the nursery and day care center, stabbing the minors to death.

Police have confirmed the gruesome incident. A statement from the Kampala Metropolitan Police Spokesperson Racheal Kawala read: “We confirm a tragic incident at the Ggaba Early Childhood Development Program school, in Makindye Division Kampala City where a male suspect brutally stabbed and killed four juveniles. The suspect has been apprehended, and the motive behind the killings is still under investigation. Further details will be provided in due course.”

According to some eyewitnesses, the suspect first entered the school through the main gate, approaching the administration to inquire about admitting one of his children. But as he left, chaos erupted. Witnesses say he deliberately targeted learners playing outside in the school yard on toy cars and bicycles. In a matter of seconds, four children were stabbed in the neck.

They allege that when the school gatekeeper attempted to stop him, the suspect hurled the knife in his direction. Other eyewitnesses claim the man jumped over the wire-mesh fence into the play area, attacking the children before teachers could reach them. By the time staff arrived, the victims were already lying scattered in a pool of blood.

Locals described a scene of horror and anger. Parents and community members rushed to the school, demanding to confront the attacker. When the school administration had locked the gates, some parents forced their way in, attempting to lynch the suspect. Police were compelled to fire warning shots to disperse the crowd before taking the suspect into custody.

The school reportedly has over 40 children enrolled. By press time, aggrieved parents were seen mourning outside, with many others pleading to access their remaining children.

Meanwhile, IGP Abbas Byakagaba arrived at the scene and remained on site, alongside a strong police and military presence, ensuring security as investigations continued.

The headteacher has neither issued a statement nor been arrested in connection to the incident.

The Most Rev. Dr Stephen Kaziimba Mugalu has issued a stark warning over rising drug and alcohol abuse among Ugandan adolescents who are mostly school going kids.

The man of God is asking that parents, schools, communities, and faith leaders to take urgent action to protect the nation’s youth.

Delivering his Easter 2026 message at the Church of Uganda Provincial Secretariat in Namirembe on April 2, Archbishop Kaziimba revealed that over 70% of teenagers have either used drugs or alcohol, a trend he described as alarming and threatening the health, education, and spiritual well-being of young people.

“We must take collective responsibility in safeguarding the well-being and future of our young people. Let Christ be their anchor, not drugs. Our youth need guidance, counseling, and faith to resist the temptations that destroy lives.”the Archbishop said.

He noted that the Church of Uganda has launched a comprehensive Drug Prevention Training Manual, designed for schools and universities under its purview. The resource provides a faith based framework to equip administrators, chaplains, teachers, and parents with tools for guidance, counseling, and rehabilitation of youths affected by substance abuse.

“I call upon every diocese, every parish, and every believer to take responsibility in addressing this issue. Let us commit ourselves to safeguarding the future of our young people. Let Christ be their anchor, not drugs.” Archbishop Kaziimba said.

The Archbishop linked drug abuse prevention to wider spiritual and societal themes.

“Drug abuse among the youth is not just a personal issue; it is a threat to society. Faith, counseling, and care are the strongest shields. Our youth are Uganda’s future, and we must anchor them in Christ, in values, and in community support.” Archbishop Kaziimba warned.

He reminded believers that Easter is a season of hope, renewal, and the power of Christ’s resurrection. He quoted from the book of John 11:25–26.

He asked: “Do you believe that He is the resurrection and the life? Then let us anchor our youth in faith, not addiction.”

He also mentioned the role of community and reconciliation in shaping youth behavior. Archbishop Kaziimba revealed ongoing Church efforts in post election reconciliation, where he noted that stable, peaceful communities reduce the pressures and instability that can drive young people toward substance abuse.

He also spoke of his recent visit to Nakivale Refugee Settlement, where he delivered humanitarian aid, interacting with children and families affected by conflict and poverty.

“We need each other. We cannot function well in unstable environments. Our youth must grow in faith and safety, supported by communities that care.” he said.

Archbishop Kaziimba further called for a nationwide tree-planting campaign, urging dioceses to plant over 385,000 trees each over two years. He framed this as a lesson in responsibility, discipline, and care for creation, values that complement faith-based guidance and drug prevention efforts.

The Archbishop also mentioned the Church’s global leadership role, referencing his participation in GAFCON 2026 in Abuja, Nigeria, and his work with the Anglican Relief and Development Fund. These engagements, he said, reinforce the Church’s commitment to social, humanitarian, and moral leadership, giving credence to its youth programs.

Ugandan entertainer Crysto Panda is not waiting for others to define his impact. He is already shaping how he wants to be remembered.

In a reflective and confident statement shared on his X platform, the multi-talented creative opened up about the legacy he hopes to leave behind, making it clear that his ambitions stretch far beyond music alone.

“When I die, I wanna be remembered as Uganda’s biggest entertainer of this new generation because I’ve done it all. TV presenter, events MC, radio presenter, musician, events promoter. I’m so proud of me,” he wrote.

When I die i wanna be remembered as Uganda’s biggest Entertainer of this new generation ?because I’ve done it all;
TV presenter ?
Events Mc ?
Radio presenter ?
Musicians ??
Events promoter,
So proud of me ??????

— Crysto Panda (@CrystoPanda) April 2, 2026

For Crysto Panda, the story is not just about hits or charts, but the breadth of his journey. Over the years, he has moved seamlessly across different spaces in the entertainment industry, from hosting on television and radio to commanding stages as an MC and organizing events that shape youth culture.

His path reflects a new generation of Ugandan creatives who refuse to be confined to one role, choosing instead to build influence across multiple platforms.

At a time when many artists look outward for validation, Panda’s message stands out for its self-assured tone. He is celebrating his journey while still in motion, owning his growth and the ground he has already covered.

It is a bold declaration, but also a strategic one. By defining his legacy now, Crysto Panda is not just reflecting on the past. He is setting the tone for what comes next.

Don’t want to miss out on any story? For updates on all Sqoop stories, follow this link on Telegram: https://t.me/Sqoop and Whatsapp: https://whatsapp.com/channel

Threeways Shipping Services (Group) Ltd has won a critical legal battle, forcing Standard Chartered Bank Uganda back to the drawing board after the High Court rejected the Bank’s attempt to shut down the lawsuit before it could be heard.

In a ruling dated 31st March 2026 Hon.Justice Patricia Mutesi dismissed the Bank’s strike-out application outright, finding it without merit and confirmed that Three Ways Shipping’s case will proceed to full trial.

Standard Chartered Bank had argued that a separate lawsuit was barred under Section 34 (1) of the Civil Procedure Act. The Court disagreed, ruling that the Banks private sale of the Threeways’ Namanve Industrial property operated outside the courts formal execution process entirely, making the legal challenge not only valid, but necessary.

The Bank had no court warrant, no judicial supervision. It acted alone and now it must answer for that in court. Civil Suit No.0050 of 2021 is alive and Threeways Shipping will have its full hearing on the merits. Threeways Shipping was represented by M/S ABMAK Associates.

Do you have a story in your community or an opinion to share with us: Email us at Submit an Article