The mixing of politics and music in Uganda has a long history. Music has not only been used for entertainment, but also a way for artists to support political leaders, campaign for parties, criticize governments, express public frustrations, and mobilize voters.
One needs to understand that this is not the first time musicians are mixing music with politics. In the 1970’s artists such as Minsusera Ssegamwenge released Bamugamba criticizing Obote for his refusal to listen to people’s voice and praising the Dictator Amin Dada by then. In other words, musical artists have for so long been influenced by politicians to drive their agenda because of the large following they gather.
This scenario did not stop with Ssemwenge or Obote and Amin’s time, but has stretch to the current as some musicians have decided to copy the old. Recently on August 12th, 2026, a locally known musician alias King Saha had an altercation with the security forces in Kampala after unlawfully holding a political rally at the city centre in pretence of rallying people for his upcoming music concert scheduled at Kololo Independence Grounds on August 14th, 2026.
Saha first started by moving around Kampala streets and shopping malls, downtown, in the name of promoting his upcoming concert but later started unlawfully holding a political rally, which wasn’t earlier agreed upon with security forces, which videos are publicly available online.
Saha disobeyed public order rules by unlawfully inciting political sentiments to a large crowd such as ‘’People Power Our Power,’’ a phrase that is associated with the National Unity Platform (NUP) party. This disrupted business in areas such as downtown, Owino market, city centre and the old taxi park.
As a result, police and other security agencies arrested him due to precautions of public disorder, opportunist criminal activities, political radicalisation and mobilisation in the areas of Kampala metropolitan. However, he was later released.
Basing on the information highlighted and more that is in the public domain, one needs to understand that Saha’s controversial messaging as a political expression or an attempt to mobilise supporters, highlighted a much bigger reality that music in Uganda is no longer simply entertainment, but also a powerful social and political force which if misused, can amplify propaganda, misinformation, political hostility and public disorder.
Consequently, a line has to be drawn between artistic expression and political mobilisation because musical artists must understand the power and responsibility that comes with combining entertainment and political messaging.
