Traverse back in time to the 1960’s and 70’s Kampalas bands often consisting of refugee musicians from the Democratic Republic of Congo would perform in hotels, bars and nightclubs playing any thing from covers of popular western music to jazz, soukous, and many other forms of music from neighbouring Kenya and Congo. The difficulty of life for a musician in these times was excruciating with little ways to make money as Idi Amin had ruined the economy. This meant audiences in even the most popular clubs were scarce because it wasn’t safe to go out at night. As a result many of the best musicians fled the country. (Broughton et al., 2006)
Today, the Southern outskirts of Kampala are still teeming with life. Just beyond Ggaba beach lives Kawuku Road. It stands in stark contrast to its lively surroundings, adorn with a mix of makeshift shacks, exposed dried up storm drains, and newly erected villas. It’s on this unassuming stretch that Derek Debru, a pivotal figure and co-founder in the Nyege Nyege collective, calls home. Nyege Nyege Tapes, a group of musicians hailing from diverse corners of the globe, is orchestrating a seismic shift in the musical landscape of the Ugandan capital, and Derek Debris residence serves as a central hub for this transformative musical movement.
Nyege Nyege’s Pisko Crane and Lady Aicha’s musical collective are a prime example of the unique and electric musical revival going on in Kampala. Their debut album “N’Djila Wa Mudjimu” is a proud and confident exploration of Ugandan music and culture. Over the years, Fulu Miziki’s notoriety grew in the Kinshasa underground – their utopian vision of the future was infectious. The ensemble’s trajectory took a transformative turn when they welcomed the artistic prowess of Lady Aisha, a multifaceted performer, sculptor, and fashion designer. Aisha’s creative ingenuity injected a unique spectrum of colours and a soulful focal point into the group.
Inspired by the vibrant street performance culture of Kinshasa, Aisha collaborated with the band to craft striking masks and costumes that mirrored the electric and distinctive nature of the instruments they wield. The stage was thus set for a visual and auditory experience like no other.
Fast forward to 2020, a year that saw the world thrust into lockdown. Fulu Miziki seized the moment, and their online presence surged when footage of their performances went viral. Notably, a video featuring their track ‘Tikanga‘ garnered millions of views on Facebook, propelling the band into the global spotlight. Capitalising on this momentum, the group redirected their focus toward documenting their unique sonic tapestry.
Track eight on the album ‘Tsakula’ brings a modern take on tribalistic chants with glossy horn sections, driving Congo’s and richly layered worldly percussion. The production quality on display here is outstanding. Each percussive drum is excellently mixed and panned accordingly to induce a colourful stereo experience whilst leaving plenty of room for the layered vocal performances. Industrial drum beats, Congolese rock and elements of spiritual jazz and post punk fuse together to create something truly ecstatic and thrilling. The track carries a driving rhythmic pulse which lives and breathes through the almost tribal, uncut sound the band discovers.
Broughton, S. et al. (2006) ‘Uganda’, in World music. London: Rough Guides, p. 431.