Events promoter Bajjo has attributed King Saha’s continued relevance in Uganda’s music industry to his connection with ordinary Ugandans, arguing that David Lutalo could have occupied a similar position had he maintained the same approach.
Bajjo said Saha had built his reputation by associating with ordinary people and producing music that reflects their experiences, helping him remain connected to audiences as musical tastes change.
He suggested that Lutalo, who has enjoyed years of success in Uganda’s music industry, could have benefited from a similar approach.
“The music King Saha sings would have been for Lutalo right now,” Bajjo said.
The promoter’s remarks place audience connection and an artiste’s ability to adapt at the centre of the debate over longevity in Uganda’s competitive music industry.
Bajjo also spoke about the relationship between Saha and other musicians, suggesting that disagreements and public criticism do not necessarily prevent artistes from doing business together.
He observed that Saha could criticise someone one day and still work with the same person the next, describing a professional dynamic in which personal differences do not always stand in the way of commercial interests.
Bajjo defends Saha’s political allegiance
Beyond music, Bajjo defended Saha against speculation about his political affiliations.
He said he had heard of a promoter who wanted to organise a show aimed at rebranding Saha as an artiste associated with the ruling National Resistance Movement (NRM).
Bajjo dismissed the idea, maintaining that Saha’s support for National Unity Platform (NUP) leader Bobi Wine was genuine rather than motivated by hidden interests.
His comments come against the backdrop of Uganda’s music industry, where some prominent artistes have publicly associated themselves with political parties and leaders, blurring the lines between entertainment, personal conviction and political mobilisation.
Bajjo names Uganda’s current music big three
Bajjo also named King Saha, Eddy Kenzo and Sheebah Karungi as Uganda’s current leading trio, placing them after the generation dominated by Bebe Cool, Bobi Wine and Jose Chameleone.
He ranked Saha first, followed by Kenzo and Sheebah, arguing that the three artistes had reached a level of prominence where they did not need to compete directly against one another for recognition.
The ranking reflects Bajjo’s personal assessment of the current music landscape rather than an industry-wide measure of popularity.
His remarks highlight the competing factors that shape an artiste’s standing: musical output, audience loyalty, adaptability, commercial success and public identity.
For Bajjo, Saha’s advantage lies in his relationship with ordinary Ugandans. His comparison with Lutalo raises a broader question about musical careers: is longevity secured by the ability to produce hits, or by remaining connected to the people who make those hits matter?
