Ugandan singer King Saha has sparked fresh controversy in the African entertainment industry after launching a scathing attack on Nigerian music heavyweights Wizkid and Burna Boy, claiming the two international stars have lost their musical dominance and urging Ugandan event promoters to reconsider spending money on booking them.
In remarks that have raised eyebrows among music enthusiasts, Saha questioned the current relevance of the Nigerian superstars, suggesting that their influence and prominence in the music industry are no longer at the level they once enjoyed.
Taking a direct swipe at Wizkid, the singer made a controversial statement suggesting that hunger could finish the Nigerian superstar without people even noticing. He further challenged individuals who previously supported and celebrated the Nigerian artists, arguing that the same musicians they once praised have allegedly fallen from their previous positions.
Saha did not spare Burna Boy either, claiming that the Grammy-winning musician had fallen off and was no longer enjoying the level of prominence he once commanded.
His remarks are particularly interesting given the international success both Nigerian musicians have achieved. Wizkid, widely recognised for his contribution to the global Afrobeats movement, has enjoyed major international collaborations and recognition, while Burna Boy has established himself as one of Africa’s most internationally recognised performers.
Their music has crossed geographical boundaries, attracted audiences beyond the African continent and contributed significantly to the global visibility of African sounds.
Nevertheless, King Saha appears to believe that their current standing does not justify the continued enthusiasm with which Ugandan promoters pursue international bookings.
THE BIGGER QUESTION: WHY NOT INVEST IN UGANDAN ARTISTS?
Beyond the controversy surrounding his comments, Saha has reignited an important conversation about the relationship between international bookings and the development of Uganda’s entertainment industry.
Over the years, Ugandan promoters have invested considerable resources in bringing international musicians to perform at local concerts. These events often attract significant public attention, generate excitement and provide entertainment opportunities for thousands of music lovers.
However, a recurring concern among local industry players is whether Ugandan musicians receive comparable financial investment, promotional support and opportunities to headline major entertainment events.
Many local artists continue to work towards building sustainable careers despite having loyal fan bases and commercially successful music. Some struggle to secure major sponsorships, quality production budgets and platforms capable of elevating their brands to international standards.
Saha’s comments therefore bring back an important debate: Should Ugandan promoters redirect more resources towards homegrown talent instead of repeatedly spending heavily on international performers?
OUR TAKE: KING SAHA HAS A POINT, BUT HAS HE GONE TOO FAR?
While King Saha is entitled to his opinion, declaring Wizkid and Burna Boy irrelevant is a rather bold assessment.
There is a significant difference between an artist experiencing a quieter musical season and actually losing relevance. The music industry is constantly changing, and even the biggest international performers experience periods when they are not dominating headlines or releasing chart-topping records.
Wizkid and Burna Boy have built international brands, established global audiences and achieved milestones that cannot simply be dismissed because of perceived changes in their musical momentum.
However, we believe Saha has touched on an issue that Uganda’s entertainment industry cannot afford to ignore.
Local talent deserves more than occasional opening slots before international performers. Ugandan musicians need serious investment, professional management, international marketing, quality production and opportunities to headline major concerts.
At the same time, supporting homegrown talent should not translate into shutting the doors on international musicians. International concerts can attract tourism, create employment, generate business opportunities and expose Ugandan performers to wider audiences.
Promoters should ultimately consider audience demand, commercial value and the overall experience when deciding which artists to book.
Perhaps the bigger problem is not that Ugandan promoters book Wizkid or Burna Boy, but that the local industry has not invested enough in creating homegrown stars capable of commanding similar attention and commercial value.
Uganda does not need to stop celebrating international superstars; it needs to start building its own.
And if local artists are to compete beyond our borders, the responsibility should not rest on musicians alone. Promoters, record labels, corporate sponsors, media houses and other industry stakeholders all have a role to play.
International artists should not be viewed as enemies of Uganda’s music industry. Instead, their presence should challenge local stakeholders to improve production standards, strengthen artist management and create opportunities for Ugandan musicians to compete on bigger stages.
Ultimately, the goal should be an industry where Ugandan artists are not only opening for international stars but also attracting international audiences, commanding competitive performance fees and headlining major events across Africa.
For now, King Saha has thrown the challenge into the entertainment arena, and it remains to be seen how fans, promoters and fellow musicians will respond.
THE BIG QUESTION: Do you agree with King Saha that Ugandan promoters should stop booking Wizkid and Burna Boy, or should international music remain part of Uganda’s entertainment business?
Hiking