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If there is one thing about Okello Okello’s Comedy Black Friday, it is that the stage never belongs to just one star. It is a playground for talent, surprises, and the occasional scene-stealer.

Last Friday’s first edition of the year at the National Theatre delivered exactly that, and the night’s biggest laugh machine turned out to be someone many didn’t expect: Teacher Sulphur.

A Christian comedian who casually introduces himself as an evangelist, events host, and chemistry and mathematics teacher, Teacher Sulphur has also earned a reputation among critics as “the funniest street preacher in the world.” On Friday night, he proved why.

From the moment he stepped on stage, Sulphur had the audience locked in. His jokes about praise and worship styles in different parts of the country hit home with hilarious accuracy.

The crowd could easily tell that his comedy was drawn straight from real-life experiences; after all, the man actually preaches on the streets. The audience spent most of his set doubled over in laughter.

What made the moment even more relatable was the timing. With both Muslims observing Ramadan and Christians in the Lent season, Sulphur’s faith-inspired humor felt oddly appropriate. His playful take on prayer, fasting, and church culture had the audience laughing in agreement rather than discomfort.

If he didn’t expect to steal the show, he probably realized it by the time he stepped off stage to thunderous applause.

The night had started earlier with musician Andereya Baguma, who warmed up the crowd at around 8pm with a fusion of African and Western musical sounds.

His performance featured tracks such as Girl from Kisaasi, Ubuntu, and Tewali, setting the tone for an evening that blended music and comedy.

Shortly after, the comedy segment kicked off with host Okello Okello, who delivered a few warm-up jokes before handing the stage to the evening’s lineup of comedians. Seswa was the first to test the waters, easing the crowd into the rhythm of the show before the night’s later highlights unfolded.

Despite the fasting season, the show still attracted a lively crowd of revelers, proof that laughter remains a powerful tool in people’s lives.

This year, however, fans will have fewer chances to catch the show live. Unlike previous seasons, Okello Okello revealed that Comedy Black Friday will have only three editions in 2026, with the next one scheduled for Friday, July 3.

Before closing the night, Okello also shared another exciting update. His African comedy tour, which kicked off in Nairobi two weeks ago. The tour will take him across the continent with stops planned in Rwanda, Zambia, Tanzania, and South Africa, with more destinations expected to be added.

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Ugandan singer Jowy Landa has opened up about how she approaches music collaborations and what makes a partnership work for her.

Speaking on NOW Media, Jowy said she values genuine connection over money when working with other artistes.

She explained that paid collaborations can affect the energy she brings into a project, which is why she prefers to build a relationship first.

We have to appreciate each other. I really do not like someone paying me for a collaboration. It will feel like it is paid for, and I may not put in a lot of effort. We need to first bond and get to know each other. You send me a song and I appreciate it.

Jowy Landa pointed to her collaboration with Dax Vibez on the song “Fantasy” as an example of how things should work.

She said their friendship made the process smoother and helped them work better as a team in the studio.

Just like when I worked with Dax. We went to the studio, Nessim created the song, and they wrote it with Dax, but Dax and I were already friends. We are pushing the song together.

With that, anyone planning a Jowy Landa feature should think beyond the budget and focus on building a real connection.

Singer and legislator Hon Hillary Kiyaga alias Hilderman has clarified that artists who previously signed away their music rights will not be able to reclaim them under the newly passed Copyright and Neighbouring Rights (Amendment) Bill, 2025.

Speaking on NTV Uganda, Hilderman emphasized that the law will not apply retroactively, meaning agreements signed before its implementation will remain legally binding.

According to him, artists who transferred ownership of their copyrights under earlier contracts cannot reverse those deals simply because of the new legislation.

He cited the example of rights acquired by Salim Saleh from producer Kasiwukira, noting that such agreements remain valid because they were concluded before the bill was introduced.

Hilderman added that even music from legendary artists like Paul Kafeero, whose rights were sold under earlier arrangements, will continue to be governed by those original contracts.

His remarks appear to contradict earlier comments by Eddy Kenzo, president of the Uganda National Musicians Federation (UNMF), who had suggested that veteran artists could regain ownership of their music once the bill is signed into law.

However, Hilderman clarified that the legislation will only take effect going forward, from the moment it is assented to by the president and its regulations are implemented.

He said artists affected by past agreements will instead need to focus on creating new music under better contractual terms.

“Those artists will need to create new music and start afresh,” he explained.

Artists who already signed contracts and transferred their copyrights cannot have those agreements reversed.

For example, the rights General Salim Saleh purchased from music producer Kasiwukira remain unchanged because the contract was signed before the Copyright Bill.… pic.twitter.com/nitytBTSJ7

— NTV UGANDA (@ntvuganda) March 18, 2026

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By Natukunda Fazirah Magezi

Leadership in the mainstream perspective takes direction of politics and this in most cases gives birth to rulers and not leaders. This is because anyone who enters leadership using a conventional political Lense, they do so by prioritizing the art of manipulation to convince electorates to vote them into spaces of power and decision making at all costs, such individuals always have well written manifestos but without realistic tangible values. Take for instance a Leader who promises infrastructural development to electorate while knowing that they have limited influence in the budget processes. Such individuals always take advantage of the Nativity and innocence of the voters and the end goal is poor representation or misrepresentation.

On the contrary, servant leadership is the one that prioritizes service above self and this kind of approach usually runs on honest, achievable, relatable and issue based lived experiences of electorates or voters. It looks beyond exotic manifestos that do not speak to the deep-rooted issues and concerns on the ground. The manifesto guiding such a perspective therefore lies at the interaction of continuity, Competence and Co-existence.

For continuity, an aspiring candidate shouldn’t posture themselves as the savior of the electorate but rather as the voice that amplifies the unfinished or perhaps the less prioritized issues faced by their voters. This means the candidates manifesto is shaped by the realities on ground hence is key for competence-based leadership.

Why Leadership and Gender are Intertwined and what Matters?

Gender is a social construction of differences between men and Women. It places men and Women in distinct boxes of Masculinity and Feminity and it does this through role allocation (often times conceptualized as Gender division of labour), social expectations, career aspirations, geographical positioning or placement etc. This whole system is mediated by the process of socialization which starts from birth where when children are born, and one is female by sex they are brought clothes or gifts in pink colour while boys receive gifts usually in blue and toys such as guns for boys and household dolls for girls to nurture them into care givers as boys are nurtured to be providers and protectors. This process carries on through our life time until death.

Men and women, boys and girls are highly policed to ensure conformity to their socially ascribed roles, responsibilities, aspirations, social positioning etc. Cases of conformity are rewarded with remarks like “Good girl” while cases of deviation are highly punished with phrases like “Which sort of man or woman are you” This kind of Gender policing thrives on social institutions like family, religion, academia which all play a significant role in ensuring that this gender asymmetry keeps afloat. This kind of system impacts human beings to the extent that gender takes precedence over humanity. This has affected how societies are arranged, how jobs are given, how students are taught, how careers are prescribed and the broader social relations.

As agender specialist, perspectives that runs on the concept of “Ubuntu” which simply states “I am because you are, if you are therefore, I am”. It is this concept that treasures humanity over any other identity hence such would help us dismantle the gendered asymmetry that has caused historical oppression, discrimination and inequality of distinct social categories of people in the society.

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Ugandan dancehall singer Mark Da Urban has weighed in on the newly passed Copyright and Neighbouring Rights (Amendment) Bill 2025, and while he sees potential, he says many artistes could still miss out.

Parliament passed the law on March 17, 2026, aiming to help creatives earn from their work in a fast growing digital space.

But Mark believes the real challenge lies in how the information reaches artistes.

Speaking on Sanyuka TV, he warned that many musicians may not understand the law as it stands.

It can work, but they need to sensitize people and educate them. They should go to the grassroots because many upcoming musicians come from the ghetto, and their level of education is limited.

He explained that the legal language used could shut out the very people the law is meant to help.

The language used by lawyers and MPs can be hard for people in the industry to understand. Musicians from the ghetto need to understand that the law benefits them, but that will only happen through proper sensitization.

According to Mark, without proper guidance, many artistes may never tap into the benefits.

Musicians from the ghetto need to understand that the law benefits them, but that will only happen through proper sensitization.

He also called on industry leaders to take responsibility and reach artistes directly.

The federation has to teach people about the law, explain how it benefits them, and show them what they need to do to gain from it. Sensitization must start from the bottom, and they should reach out to artistes instead of waiting for artistes to come to them.

For Mark Da Urban, the law alone is not enough if those it aims to help do not understand it.

https://www.youtube.com/watch?v=C8zBIlEVpHM

In an industry where global fame often comes wrapped in million-dollar deals and meticulously crafted images, Cindy Sanyu is choosing to spotlight something far less tangible but, in her view, far more valuable.

Speaking during a TV interview, the Ugandan songstress offered a striking comparison between local artists and international superstars like Rihanna, painting a picture that flips the usual narrative of success on its head.

“The Rihannas make more money,” Cindy admitted, acknowledging the immense financial power of global music machinery. “But Ugandan artists have more freedom.”

It’s a statement that cuts deep into the mechanics of the music business. While international stars command massive audiences and endorsement deals, Cindy argues that much of that success comes with control.

According to her, major label systems often dictate nearly every aspect of an artist’s life: from their sound and public persona to deeply personal decisions like relationships and even when to start a family.

“The labels decide everything for them—the way they dress, the way they speak, what to say, when to get pregnant and date,” she said.

In contrast, Uganda’s music scene, though smaller and less lucrative offers artists a kind of creative and personal autonomy that money can’t easily buy. Here, musicians can experiment, speak freely, and shape their own narratives without corporate oversight looming over every move.

“As a Ugandan, I like my freedom,” she declared.

Her remarks arrive at a time when Uganda’s entertainment industry is undergoing significant transformation, with ongoing conversations around copyright laws, artist rights, and revenue streams.

While many local artists are pushing for better financial structures to match their global counterparts, Cindy’s perspective adds an intriguing layer to the debate: what exactly should artists be striving for?

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