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The Office of the President is mourning the death of Mark Baingana, the Deputy Resident City Commissioner (RCC) for Makindye Division, Kampala.

In a condolence message, the Minister for the Presidency, Hon. Babirye Milly Babalanda, said she received the news of his passing with profound sorrow.

“It is with deep sorrow and a heavy heart that I received the sad news of the passing of one of our staff, the Deputy Resident City Commissioner for Makindye Division, Mr. Mark Baingana,” the Minister said.

On behalf of the Office of the President, her family, and in her personal capacity, Hon. Babalanda conveyed her heartfelt condolences to the bereaved family, relatives, friends, colleagues in the Office of the Resident City Commissioner, and the people of Makindye Division.

The Minister paid tribute to the late Baingana for his dedicated service to the country, describing him as a committed public servant who diligently executed his responsibilities.

“The late Deputy RCC served the people with dedication, discipline, and unwavering commitment to promoting peace, security, and effective service delivery,” she said.

Hon. Babalanda prayed for God’s comfort and strength for the bereaved family during this difficult time and asked Him to grant eternal rest to the departed.

“We pray to the Almighty God to grant strength and comfort to the bereaved family during this difficult time, and to grant the soul of our departed colleague eternal rest,” she added.

Quoting Psalm 34:18, the Minister encouraged the grieving family with the scripture: “The Lord is close to the brokenhearted and saves those who are crushed in spirit.”

She concluded her message by praying that Mr. Baingana’s soul rests in eternal peace.

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Every year on 12 August, world leaders deliver speeches, conferences convene, social media buzzes with hashtags, and governments announce fresh commitments to young people. Yet few pause to ask a simple question: Why 12 August?

The answer is far more compelling than many realise.

International Youth Day was not born from a single dramatic ceremony or landmark treaty. Nor did it emerge overnight because the world suddenly recognised the importance of young people. Instead, it evolved over decades through dialogue, policy reforms, youth advocacy, and a growing global consensus that young people are not merely tomorrow’s leaders, but today’s citizens, innovators, entrepreneurs and peacebuilders.

Like a mighty river fed by countless streams, International Youth Day is the culmination of many seemingly modest milestones that collectively transformed the world’s understanding of youth.

Planting the First Seed:

The story begins in 1965.

At the height of the Cold War, the United Nations General Assembly adopted the Declaration on the Promotion among Youth of the Ideals of Peace, Mutual Respect and Understanding between Peoples. Although the declaration focused primarily on peacebuilding rather than youth empowerment as it is understood today, it reflected an emerging belief that young people could become bridges between nations rather than barriers.

In retrospect, that declaration planted the first seed.

For more than a decade, however, it remained just that—a seed awaiting the right conditions to flourish.

Those conditions arrived in 1979, when the United Nations proclaimed 1985 as the International Youth Year, built around three enduring pillars: Participation, Development and Peace.

The initiative extended far beyond the halls of the United Nations. Governments established national committees, youth organisations mobilised communities, and UN agencies coordinated programmes worldwide through a secretariat in Vienna.

More importantly, policymakers began to appreciate a fundamental reality: young people are not a single, homogeneous group.

A young woman in a rural village, a university student in a bustling city, a young person living with a disability, and an unemployed graduate may all be classified as “youth,” yet their experiences and aspirations differ profoundly. This realisation reshaped international thinking and laid the foundation for more inclusive youth policies.

An Idea Born from Young People:

Ironically, the proposal to dedicate one day each year to young people did not originate in diplomatic chambers.

It came directly from youth themselves.

In 1991, delegates attending the first World Youth Forum of the United Nations System in Vienna proposed establishing an annual International Youth Day. While the idea appeared straightforward, transforming it into an official UN observance required years of negotiation and diplomacy.

Momentum continued to grow.

In 1995, the United Nations adopted the World Programme of Action for Youth, the first comprehensive global policy framework dedicated to improving the lives of young people. Rather than relying on lofty aspirations alone, it identified practical priorities, including education, employment, health, participation, and civic engagement.

Only then did an annual observance truly make sense.

Without meaningful action, it would have become just another symbolic date on the calendar. Anchored in policy, however, it became an annual opportunity to measure progress and renew commitments.

Why 12 August?

The final chapter unfolded in Lisbon, Portugal.

Between 8 and 12 August 1998, ministers responsible for youth met at the first World Conference of Ministers Responsible for Youth. On the conference’s closing day, they recommended that 12 August be designated as International Youth Day.

The United Nations General Assembly formally adopted the recommendation on 17 December 1999.

Eight months later, on 12 August 2000, the world commemorated the first-ever International Youth Day.

A Day That Continues to Evolve:

International Youth Day has never remained static.

In 2009, the UN proclaimed the year beginning 12 August 2010 as the International Year of Youth, marking the 25th anniversary of International Youth Year.

Another defining milestone came in December 2015, when the UN Security Council adopted Resolution 2250 on Youth, Peace and Security. For the first time, young people were formally recognised not simply as victims of conflict but as indispensable partners in conflict prevention, peacebuilding, and sustainable development.

This marked a profound shift in global thinking.

For decades, young people had often been viewed as a challenge to be managed. Increasingly, they were recognised as a resource to be empowered.

Since then, each International Youth Day has carried a distinct annual theme reflecting emerging global priorities.

The 2026 theme, “Different Contexts, Common Aspirations,” captures that evolution perfectly. It acknowledges that although young people grow up in vastly different political, economic and social environments, they share common hopes: opportunity, dignity, inclusion, meaningful participation and the ability to shape their own futures.

This year’s observance places particular emphasis on young people living in least developed countries, landlocked developing countries and small island developing states, where talent frequently outpaces opportunity.

Africa’s Distinct Voice:

Although International Youth Day is a United Nations initiative, Africa has steadily developed its own complementary youth agenda.

The African Union increasingly uses 12 August not simply for celebration but as a platform for policy action and accountability.

In 2025, for example, the African Union Commission, working with the UN Volunteers programme, launched the continent’s first State of Volunteerism in Africa Report, highlighting the invaluable contribution young Africans make to community development.

Africa’s commitment, however, extends beyond the UN calendar.

The continent observes Africa Youth Day every 1 November, following the African Union Executive Council’s decision during the 2006 Banjul Summit, which also adopted the historic African Youth Charter.

Signed on 2 July 2006 and entering into force on 8 August 2009, the Charter remains Africa’s binding legal commitment to young people. It defines youth as persons aged 15 to 35 years and commits member states to safeguarding their rights to education, employment, healthcare, participation and meaningful inclusion in national development.

International Youth Day and Africa Youth Day are often misunderstood as competing observances.

They are not.

One provides a global platform, while the other serves as Africa’s own institutional framework. Together, they reinforce the shared goal of ensuring that young people are not merely discussed but actively involved in shaping the continent’s future.

National celebrations increasingly reflect this practical approach.

Uganda’s 2025 International Youth Day commemorations in Masindi District, presided over by the President, combined celebration with policy by launching a National Youth Innovation Fund alongside a revised National Youth Policy under the theme: “Youth Advancing Socio-Economic Transformation through Technology and Partnerships.”

Across Africa, International Youth Day is increasingly becoming an annual scorecard against which governments measure—and are expected to demonstrate—their commitments to youth development.

It is equally important to distinguish this observance from national youth commemorations rooted in unique historical experiences.

For instance, South Africa’s Youth Day, observed every 16 June, commemorates the courage of students who challenged apartheid during the 1976 Soweto Uprising. While both occasions celebrate young people, their origins and purposes are fundamentally different.

The Arab World’s Growing Youth Agenda:

Across the Arab world, International Youth Day has likewise evolved into far more than a symbolic celebration.

In Abu Dhabi, the Arab Youth Center, established in 2017, uses the occasion to honour outstanding young innovators through its Young Arab Pioneers initiative, recognising achievements in medicine, entrepreneurship, scientific research, technology and public service.

Regional institutions have also strengthened youth policy frameworks.

The League of Arab States declared 2023 the Year of Youth and subsequently adopted the Arab Strategy for Youth, Peace and Security (2023–2028).

Meanwhile, initiatives such as UNDP’s ShababEEK programme and joint regional dialogues led by UNDP and UNFPA have transformed International Youth Day into an opportunity not only to celebrate achievements but also to confront persistent challenges.

Those challenges remain significant.

The Arab region today has its largest youth population in history, with more than 110 million people aged between 15 and 29 years. Nearly one-third of the region’s population falls within this age group, while six out of every ten citizens are under the age of 30.

Yet youth unemployment remains close to 28 per cent, and young people’s representation in national parliaments is still among the lowest globally.

Consequently, every 12 August serves not only as a celebration but also as a platform for presenting evidence, assessing progress and demanding accountability.

Some countries, including Egypt and Sudan, occupy both African and Arab policy spaces as members of both the African Union and the League of Arab States. Their young people naturally bridge these two regional conversations, demonstrating that Africa and the Arab world are interconnected communities with shared aspirations.

More Than a Commemoration:

Perhaps that is the enduring lesson behind International Youth Day.

Its history has never been about creating another annual celebration.

It has always been about transforming the world’s understanding of young people.

From a declaration on peace in 1965 to today’s global dialogue on innovation, inclusion, entrepreneurship and leadership, the journey reflects a remarkable shift in international thinking.

Young people are no longer viewed simply as beneficiaries of development or recipients of government programmes. They are increasingly recognised as partners, innovators, problem-solvers and architects of a more peaceful and prosperous future.

Every 12 August therefore represents far more than a date on the calendar.

It is an annual reminder that investing in young people is neither an act of charity nor merely preparation for tomorrow. It is one of the wisest investments societies can make today.

For when young people thrive, nations prosper, peace becomes more sustainable, and the future begins to take shape long before it arrives.

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Few songs have dominated Uganda’s music conversation this year quite like Kalifah Aganaga’s Nassanga Remix.

The collaboration brought together Winnie Nwagi, Weasel Manizo, Eddy Kenzo, and Lil Pazo Lunabe, quickly becoming a viral sensation and one of the fastest Ugandan songs to cross the one-million-view mark on YouTube.

But as the remix continues to enjoy its success, singer Karole Kasita has revealed that the song almost had a different voice.

Long before Winnie Nwagi recorded her verse, the opportunity had first landed in Kasita’s hands.

Speaking during an interview with Galaxy FM, the singer dismissed suggestions that she deliberately snubbed the project, explaining that life away from the spotlight got in the way.

At the time, she says, she was dealing with deeply personal family matters that left her emotionally drained.

“I had very many family problems and they were so personal that I couldn’t tell them exactly what it was,” Kasita explained.

Despite everything she was going through, the singer was determined not to miss the collaboration.

She showed up at the studio ready to record.

Then fate intervened.

Just as the recording session got underway, electricity went off.

For many artists, that would simply have meant waiting for power to return.

For Kasita, however, it became the final hurdle.

Already weighed down by the emotional strain she had been carrying, she decided she could not stay any longer.

She walked away.

By the time the project resumed, the opportunity had passed.

The team behind the remix eventually brought in Winnie Nwagi, whose contribution became one of the standout moments on the record.

Kasita’s revelation offers fans a rare glimpse into the stories that often unfold behind successful collaborations. While listeners usually judge songs by the finished product, they rarely see the missed studio sessions, personal struggles and split-second decisions that shape the final version.

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Uganda’s alternative music scene has always existed as a fascinating contradiction.

It is small enough to feel like an underground movement, yet creatively rich enough to produce some of the country’s most forward-thinking artists.

While mainstream Ugandan music continues to dominate conversations, a new generation of creatives has been quietly building a different lane, one driven by experimentation, individuality and a desire to push beyond familiar formulas.

Tai Dai is one of the leading figures in that movement.

The rapper, singer and songwriter has carved out a unique identity through her nuanced vocal delivery, incisive lyricism and textured production choices.

Her music sits comfortably between hip-hop, alternative music, Afrobeats and UK Garage, creating a sound that feels both globally influenced and distinctly Ugandan.

Following the success of standout records like “Thursday” and “Niggas in Fashion,” alongside the cult following of her EA Open EP, Tai Dai has steadily positioned herself as one of the most exciting talents emerging from Uganda’s new wave.

With WHET!, she does not attempt to chase trends.

Instead, she doubles down on what makes her different.

The EP feels like a confident statement from an artist who understands her identity.

It maintains Tai Dai’s signature poetic songwriting and laid-back, almost effortless delivery while expanding her sonic palette with more ambitious production and collaborations.

The project also highlights the strength of Uganda’s alternative community, featuring collaborations with artists such as Lukorito and MAUIMØON, two names that represent the creative freedom and boundary-pushing nature of this new generation.

“Granted” Sets the Tone

The opening track, “Granted,” immediately sets the tone.

Tai Dai explores UK Garage influences while blending them with the atmospheric qualities of alternative music.

The result is a song that feels international without losing its personality.

It is not a copy of a foreign sound. It is an interpretation of one through a Ugandan artistic perspective.

On “Uh Huh,” she switches gears, introducing a more accessible Afrobeats influence while maintaining the alternative edge that defines her work.

It is a catchy record that proves experimentation does not have to come at the expense of replay value.

“Chest (Interlude)” offers a more intimate moment, leaning into R&B influences while keeping the dreamy textures associated with the alternative scene.

Though brief, it adds emotional depth to the project and creates a smooth transition into the latter half of the EP.

“Where U Go” Defines the Project

Pairing Tai Dai with MAUIMØON feels like a meeting of two artists operating at the highest level of Uganda’s alternative space.

The production is arguably the most sophisticated on the EP.

It is layered, unpredictable and rewarding, revealing new details with every listen.

The instrumentation feels like a carefully constructed collage, where every element contributes to the bigger picture.

It is not a song that immediately gives everything away, and that is exactly why it works.

In a streaming era where many songs are designed to reveal their entire identity within the first few seconds, “Where U Go” demands patience.

That is a quality worth celebrating.

The final track, “Unforgettable,” might be the boldest representation of Tai Dai’s international potential.

The UK Garage influence is unmistakable, and her performance carries the confidence and sophistication associated with some of the genre’s biggest names.

The energy is reminiscent of the creativity found in the work of artists like Skepta, Wiley and Jorja Smith, not because Tai Dai imitates them, but because she understands the emotional and sonic language of the genre.

Vulnerability Meets Experimentation

Beyond the production and experimentation, what makes WHET! special is Tai Dai’s willingness to reveal vulnerability.

The EP explores love, relationships and emotional uncertainty with a level of honesty that feels refreshing.

Instead of relying on exaggerated heartbreak narratives, Tai Dai presents emotions in a more reflective and conversational way.

You get the feeling that the listener is experiencing fragments of her thoughts rather than being told a story.

That subtlety is one of her greatest strengths.

Final Verdict

WHET! is not an EP designed to satisfy everyone, and that is precisely why it succeeds.

Tai Dai is not chasing the centre of Uganda’s music industry.

She is building a world of her own, one that connects with a dedicated audience locally while carrying the potential to resonate internationally.

The EP’s biggest strength is its artistic consistency.

Every song feels connected, every experiment feels intentional and every collaboration feels natural.

The only limitation is that the same qualities that make WHET! special may also make it less immediately accessible to casual listeners.

This is music that requires attention, patience and multiple listens.

But for those willing to engage with it, the reward is significant.

Tai Dai has delivered one of the most complete alternative projects to come out of Uganda’s new wave movement.

WHET! is proof that Uganda’s underground scene is not simply experimenting.

It is creating music capable of standing confidently on a global stage.

Standout Tracks: “Where U Go,” “Unforgettable,” “Uh Huh”

Best Element: Production depth and artistic identity

Replay Value: High, especially for listeners who appreciate alternative sounds.

Final Score: 8.8/10

For years, Uganda’s music industry has measured success through radio airplay, television appearances, concerts and, more recently, social media virality.

While these remain important, the global music business has evolved into something much bigger: a digital economy where music is intellectual property capable of generating revenue long after the spotlight fades.

The question is whether Uganda is evolving with it.

The digital music economy is not just about uploading songs to streaming platforms.

It is about building an ecosystem where music becomes a sustainable business through streaming, publishing, licensing, synchronization, merchandise, fan subscriptions, digital content, data analytics, brand partnerships and long-term catalogue monetization.

Uganda certainly has the talent.

The country consistently produces music that resonates across East Africa and increasingly reaches audiences worldwide.

What remains uncertain is whether the industry’s mindset, infrastructure and investment are keeping pace with the opportunities the digital age presents.

Perhaps the biggest shift Uganda needs to make is moving from celebrating hit songs to valuing music catalogues.

Today’s hit may dominate TikTok and radio for a few months, but tomorrow’s wealth often comes from songs that continue earning years after they were released.

Around the world, legendary artists and even newer musicians are generating millions from catalogues recorded decades ago because their music continues to be streamed, licensed, sampled and rediscovered.

Uganda has built a culture that celebrates the next hit.

The digital economy rewards those who also protect and invest in the last hundred songs.

That means artists should think carefully about ownership, publishing rights, metadata, licensing opportunities and preserving their work.

Every song should be viewed as a business asset rather than simply another release.

Investment Must Follow Talent

Investment is another area where Uganda must grow.

Many people expect artists to achieve international success with minimal financial backing.

Yet successful digital campaigns require quality production, marketing budgets, playlist pitching, visual content, audience research, digital advertising and professional management.

The unfortunate reality is that many Ugandan artists are expected to compete globally while operating on budgets that would barely sustain a local campaign.

If investors can fund agriculture, manufacturing, technology and real estate, why should music not be viewed as an investment sector capable of creating jobs, exports and economic growth?

Countries around Africa are beginning to answer that question differently.

Kenya, Nigeria, and South Africa have seen growing interest in structured investment within their creative industries.

Uganda should not wait until everyone else has built mature ecosystems before taking similar conversations seriously.

Beyond Viral Moments

The industry also needs to become better at building brands instead of simply chasing trends.

A viral dance challenge may introduce an artist to millions of people, but unless there is a strategy behind it, that attention quickly disappears.

Successful digital economies transform moments into movements.

They use trends to build loyal communities, long-term audiences and recognizable brands that outlive individual songs.

Technology has also changed the relationship between artists and fans.

Fans are no longer just listeners.

They subscribe, stream, purchase merchandise, attend exclusive experiences, support crowdfunding campaigns and become ambassadors for the music they love.

For this to happen in Uganda, audiences must begin seeing music as something worth paying for.

Piracy and the expectation that music should always be free continue to undermine artists’ ability to build sustainable careers.

Supporting Ugandan music means more than sharing links.

It also means buying tickets, subscribing to streaming services, purchasing merchandise and engaging with artists through legitimate channels.

Building an Industry

The conversation must also extend beyond musicians.

Managers, lawyers, publishers, marketers, distributors, software developers, content creators, accountants, event organizers and digital strategists all have roles to play.

A healthy digital music economy creates opportunities for far more people than those standing behind the microphone.

Government agencies, financial institutions, telecommunications companies, technology firms and educational institutions also have important roles in creating policies, funding opportunities, training and infrastructure that allow creative businesses to thrive.

Uganda does not lack talent.

What it risks lacking is preparedness.

The digital music economy rewards those who think beyond the next single.

It rewards ownership over popularity, strategy over hype and sustainability over short-term success.

The artists who will define Uganda’s future music industry may not necessarily be those with the biggest song this month.

They may be those who understand that every release is intellectual property, every fan is a potential customer, every stream is data and every catalogue is an investment.

So, is Uganda ready for the digital music economy?

The talent says yes.

The opportunity says yes.

The technology says yes.

Now the industry must decide whether its mindset is ready to catch up.

If you walked into the Uganda National Theatre gardens on Friday night, you could easily have mistaken the gathering for a silent disco.

Hundreds of people sat facing a stage wearing glowing wireless headphones. There were no booming speakers, no deafening sound checks and almost no noise coming from the audience.

Yet every few seconds, people burst into laughter, others nodded in agreement while some quietly wiped away tears.

The silence was deceptive.

Inside every headset was a live poetry performance.

This was another edition of Mtichz Manifest, spoken word artist Mitch Isabirye’s signature poetry experience that has quietly become one of Kampala’s most consistent arts events.

While concerts continue competing over bigger stages, louder sound systems and expensive lighting, Mitchz Manifest has gone in the opposite direction—removing almost all external noise and letting words do the heavy lifting.

The result is an experience where every metaphor, joke and pause feels personal.

Instead of shouting over loudspeakers, performers almost seem to whisper directly into the audience’s ears.

That intimacy may explain why the event has steadily grown since its first edition in 2022.

Friday’s show attracted a full audience, further highlighting poetry’s growing place within Uganda’s entertainment scene.

Although Mitch Isabirye host of night, the evening was built around a collective of performers.

Host Rowland Aine guided audiences through an evening that blended spoken word with live music.

Arturo Silver Tongue, Mutagwanya Joan and Jason Ntaro all delivered poetry before musicians Edwardo Kayondo and Geof De Poet briefly changed the mood with acoustic performances that had audiences requesting encore songs despite communicating almost entirely through silent applause and gestures.

When Mitch eventually appeared just after 9 p.m., he didn’t rely on theatrics.

He relied on stories.

Stories about heartbreak.

Stories about Kampala.

Stories about alcohol.

Stories about politics.

Stories about simply trying to survive adulthood.

His poem about Kampala painted the capital as both an opportunity and a burden.

Another explored why many Ugandans appear disconnected from their own history, questioning governance and public systems while carefully balancing humour with social criticism.

Even when addressing serious subjects, Mitch rarely abandoned comedy.

He laughed at heartbreak, made fun of drinking culture, confessed that, despite audiences loving his romantic poetry, love poems are actually some of the hardest pieces for him to write.

That honesty became part of the performance.

Rather than watching someone recite memorised lines, audiences felt like they were listening to conversations disguised as poetry.

By the time he closed with Nayanguwa, a reflection on life’s obstacles, the audience rose almost instinctively.

The standing ovation wasn’t simply for one performance.

It was for an art form that has quietly refused to disappear.

For years, spoken word has existed on the margins of Uganda’s entertainment industry, often overshadowed by music and comedy.

Friday’s’s show suggests the audience is finally catching up.

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Ugandan migrant workers who sought greener pastures abroad are now living in severe distress as a result of labour externalisation pressures.

The Permanent Secretary, Ministry of Foreign Affairs, Hon. Vincent bagiire said that labour externalisation pressure has driven up consular distress cases, repatriation and welfare demands, especially in the Gulf region.

“On a weekly basis, we receive communications from Saudi Arabia about Ugandans in distress. Some of them are in prison, others are physically and mentally ill and require urgent attention,” Bagiire said.

Bagiire, who, along with his technical staff, on Monday, 03 August 2026, appeared before the Committee on Foreign Affairs, chaired by Hon. Grace Kwiyucwiny, called for an intensified sensitisation campaign to curb the surge in human trafficking cases.

This followed concerns by the Persons with Disabilities (PWD) Representative, Hon. Robert Ssewagudde who asked for the ministry’s interventions to save Ugandan migrant workers from victimisation and distress.
“It is true we have done some sensitisation, but I must add that it is inadequate. The Ministry of Internal Affairs is the one responsible for the implementation of the anti-human trafficking law, and they have the duty and responsibility to do massive sensitisation to ensure Ugandans do not fall prey to these so-called lucrative opportunities, yet it is human trafficking,” Bagiire responded.

In Uganda, labour externalisation, which earns the country about US$2 billion in remittances is regulated by the Ministry of Gender, Labour and Social Development, which is charged with the responsibility of licensing labour export companies.

Bagiire said despite this, it is the Foreign Affairs Ministry that suffers the burden of repatriation of Ugandans facing harsh and exploitative working conditions and human trafficking, among others.
“There are some Ugandans who are arrested in Iraq. We reached out to the authorities and they are positive to release them. The challenge is the absence of resources to return them, as you know there is no allocation to repatriate them,” Bagiire said.

He added that , the curative measure is to sensitise Ugandans against travelling, especially to war-torn countries.
“It has been very challenging for us; recently, we repatriated hundreds of Ugandans from Myanmar. The Ethiopian Airways plane that returned 43 Ugandans also carried about 20 going to the same destination [Myanmar], he said adding that, ‘the most unfortunate thing is that it is Ugandans who are trafficking fellow Ugandans; some of them are known and have been arrested, but we shall intensify our campaign to stop these Ugandans from travelling’.

Members of Parliament appealed to government to prioritise safeguarding and protecting its national interests by minding the welfare of the citizens working abroad.
“One of the biggest challenges of Ugandans working abroad is their continued incarceration. We can’t continue reading the book of lamentation, we must be deliberate to protect our citizens because when you travel abroad, ambassadors are crying foul,” Hon. Gabriel Okumu (NRM, Okoro County) said.

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The photos and videos from A Pass‘ traditional introduction ceremony answered one question but raised several others.

Some people claimed artificial intelligence created the footage. Others insisted it was a music video. A Pass says both claims are wrong.

People are saying it is AI, while others think it is a music video. It is neither. It was my real introduction ceremony.

Speaking during a live session, the singer explained that he deliberately kept the ceremony private by inviting only close family members.

He said he wanted a family celebration, not a celebrity event.

The online conversation soon shifted from the ceremony to the marriage itself.

Critics predicted the relationship would “end in tears,” while others claimed they knew his wife before the wedding.

A Pass said he expected such comments and insisted they change nothing.

He explained that he has known his wife for years and accepted her past long before they got married.

Some people tell me they saw my wife somewhere before, but that is in the past. I know everything about her after dating her for so long, and I have accepted it all. Some people are just looking for likes, and I understand.

A Pass confirmed his marriage to longtime partner Alicia on August 1.

His latest remarks put to rest the speculation that followed the private ceremony.

Ugandan singer A Pass has explained why fellow musicians were absent from his traditional introduction ceremony with longtime partner Alicia.

The question surfaced soon after the singer shared photos from the private celebration, with some fans wondering why the event featured family members but almost none of his colleagues from the music industry.

Speaking during a TikTok Live, A Pass made it clear that he never intended to turn the ceremony into a celebrity gathering.

Instead, he wanted a private occasion centred on the union of two families.

Wondering why the issue had become a talking point, the singer questioned why people expected artists to attend in the first place.

He pointed out that the ceremony was a traditional family function, not a concert or an entertainment event.

To drive home his point, A Pass compared the occasion to his own concerts.

He asked critics how many curtain-raisers they had seen at his shows, arguing that he does not rely on other artists to make his events successful.

For the same reason, he saw no need to invite musicians to make his introduction ceremony feel important.

According to A Pass, the celebration achieved exactly what it was meant to achieve. It brought together him, Alicia and their families to mark an important milestone in their relationship.

The singer confirmed his marriage to Alicia after sharing photos from the ceremony on social media with the simple caption, “Married.”

His latest explanation now answers one of the biggest questions that followed the private celebration.