Echoes of Kafeero: Bobi Wine Unites Musicians to Reignite Music’s Noble Mission

At a memorial service that stirred both nostalgia and urgency, Robert Kyagulanyi Ssentamu, also known as Bobi Wine, issued a powerful call to Uganda’s musicians to embrace their responsibility as educators, unifiers, and change-makers.

Addressing mourners gathered at St Agnes Catholic Church in Makindye for the 17th anniversary of the death of legendary singer Paul Kafeero, Kyagulanyi used the moment to challenge artists to rise beyond entertainment and create music that speaks to the soul of the nation.

“Music should not only fill our hearts with joy but also educate us and remind us of our responsibilities as citizens,” Kyagulanyi said.

“At a time when our country faces so many challenges, we, the artists, must be the conscience of society.”

The late Kafeero, often remembered as one of Uganda’s most prolific and poetic kadongo kamu artists, died in 2006 but remains a towering influence in the local music industry.

His lyrics, often steeped in metaphor and satire, reflected everyday struggles, love, and the moral dilemmas of Ugandan life.

Many who attended the service said his absence is still deeply felt in a music landscape now dominated by fleeting trends and commercial concerns.

“Kafeero was a wonderful person who loved and educated the nation through his songs,” recalled veteran performer Aloysius Matovu Joy, who performed alongside Kafeero in his prime.

“He didn’t just sing; he taught us. He challenged us.”

That educational quality of Kafeero’s music was a theme echoed throughout the service. From the pulpit, Rev Fr Joseph Ssebyala described Kafeero as a visionary whose compositions offered the kind of wisdom typically found in literature and philosophy.

“Let us compose music that resonates with the spirit of our times and uplifts our society,” the priest said. “His was not music for music’s sake. It was purposeful.”

Kyagulanyi’s speech built on that legacy. He urged his peers to draw inspiration from Kafeero’s life–not just his art.

Emphasising that music can be both revolutionary and restorative, Kyagulanyi pointed to the current moment as one of reckoning for Uganda, where rising inequality, youth unemployment, and political uncertainty have sown division.

“It is imperative that artists unite, regardless of their background or genre,” he said. “Together, we can inspire a generation and leave an indelible mark on our society.”

He also turned his focus to industry-wide challenges, particularly the lack of structural support for creatives.

In a plea directed at policymakers, Kyagulanyi called for stronger copyright enforcement to protect the work of musicians and ensure that artists can earn a decent living from their talents.

“The government must step up and ensure that our artists are protected,” he said. “They deserve to benefit from their creativity, and copyright laws are a vital step in achieving that.”

Such concerns are not new. For years, artists have decried the rampant piracy, poor royalty systems, and limited recognition they face despite their cultural contributions.

Yet, as Kyagulanyi and others noted, the issue is not just about economics. It’s about preserving integrity in art, and ensuring that messages like Kafeero’s continue to find an audience.

Among those who offered tribute was singer Robinnah Namatovu, also known as Bisirikirwa, who credited Kafeero as a major influence in her artistic journey.

She thanked fellow artists and supporters, including Kyagulanyi, Matovu, and playwright Andrew Benon Kibuuka, for standing by musicians during difficult times.

“It is important that we honour those who have come before us and continue to carry their messages forward,” Namatovu said. “Through our music, we can keep their spirit alive.”

Kafeero’s songs–like Walumbe Zaaya, Dipo Nazigala, and Kampala Mu Kooti–remain benchmarks for storytelling and musicianship.

His ability to tackle complex themes with humour, irony, and empathy gave voice to Uganda’s struggles and aspirations.

Formal research has supported what Kafeero instinctively knew: that music is a potent vehicle for social change. It can shape public opinion, encourage dialogue, and even alter behaviour.

By anchoring their work in education and justice, artists can help steer society in a positive direction.

Kyagulanyi, who rose to fame through his own socially conscious lyrics before turning to politics, knows this power intimately.

His transformation from ghetto youth to opposition leader is in itself a testament to music’s capacity to build movements and stir action.

Yet, as he warned, inspiration is not enough. Without deliberate effort and cooperation among musicians, the space for meaningful music risks shrinking under the weight of commercialisation.

“Let’s remember Paul Kafeero not just by playing his songs once a year,” Kyagulanyi said, “but by living his message–every day, in every verse we write, in every note we sing.”

The echoes of that message lingered long after the mass ended. For some, it was a reminder of what Ugandan music once was. For others, it was a challenge to what it still could be.

Provided by SyndiGate Media Inc. (
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