By Peter Luzinda
The Ugandan music scene is no stranger to controversy, but this time, it’s not about beef, battles, or broken record deals. Instead, the spotlight is on the government’s newly approved copyright amendment bill, and the loudest voices are coming from some unexpected corners.
Media entrepreneur Nyanzi Martin Luther recently stirred discussion by questioning the value of the current copyright system in Uganda. He described it as “costly, inefficient, and out of touch with the needs of local creators.” While Nyanzi isn’t a recording artist himself, his comment struck a nerve with musicians who’ve long struggled with monetisation, piracy, and royalty collection.
Enter Eddy Kenzo, president of the Uganda National Musicians Federation, who quickly responded with optimism. Fresh from a meeting with President Yoweri Museveni, Kenzo assured artists that the new bill is designed to “protect creative work and ensure financial stability for performers.”
But is everyone convinced? Not quite. For many musicians, especially those without big-label backing, the concern is about access and inclusion. Will they be educated on how to register their work? Will small radio stations be able to comply with tracking requirements? And will the royalty system actually pay out or just look good on paper?
Nyanzi argues that unless the reforms are implemented transparently and fairly, they risk reinforcing the very inequalities they claim to fix. “A working copyright system benefits everyone — artists, media houses, even fans,” he said.
A turning point or another false start?
Whether you’re team Kenzo or team Saha, one thing is clear: Uganda’s music industry is evolving fast, and the laws need to catch up. But laws alone won’t fix decades of mistrust, lack of enforcement, or limited infrastructure.
As the new system rolls out, all eyes are on the government, artists’ unions, and broadcasters to ensure that this isn’t just another headline but a real chance to build a sustainable future for Ugandan music.
