Priscilla Zawedde, better known as Azawi, may have postured with eloquent words on X, but her actions reveal a gutless reality. The removal of her posts under dubious circumstances exposes the Ugandan music industry for what it truly is: a cadre of spineless cowards subservient to a corrupt regime.
Azawi’s fans, who once applauded her supposed bravery, now find themselves betrayed by her abrupt retraction. Her claim that she deleted the posts to prevent exploitation by others is a laughable excuse masking her cowardice. The timing and nature of her actions reek of coercion, making her supposed stand against corruption appear as flimsy as tissue paper.
Her subsequent attempts to assert her independence only deepen the hypocrisy. Azawi, who once championed the fight against corruption, now cozies up to the very forces she pretended to condemn. Her real motive is clear: self-preservation in a landscape where speaking out invites intimidation and retribution. By backing down, she has handed these cowards the satisfaction they crave, proving her so-called courage was nothing more than a façade.
King Saha’s grandiose declarations about creating songs to highlight societal issues are another farce. His absence during the anti-graft protests exposes his true nature—a coward unwilling to stand up when it matters most. His excuse about police interference is nothing but a smokescreen, revealing the hollow nature of his so-called activism.
Then there’s Daniel Kazibwe, alias Ragga Dee, the so-called veteran. His defense of musicians’ silence and skepticism about anti-corruption protests are desperate attempts to mask his own cowardice. By diverting attention to the broader spectrum of corruption among MPs, he trivializes the importance of artists’ voices in societal change. His comments about musicians being human and vulnerable are pathetic justifications for their spinelessness.
Phinah Mugerwa Masanyalaze of the Uganda Musicians Association (UMA) caps off this disgraceful parade. Her insistence on aligning only with government-sanctioned protests starkly reveals her true loyalties. The UMA’s refusal to support the National Unity Platform (NUP) underlines their partisan stance masquerading as neutrality. This is nothing short of complicity in the regime’s corruption.
In the end, Uganda’s music industry stands exposed as a bastion of spineless cowards, unwilling to risk their comfort for the greater good. The few brave voices are drowned out by the chorus of fear and subservience, proving that in Uganda, musical courage is nothing but a myth.
Discussion about this post