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When did this beef start?
Just two weeks after Ugandan singer-songwriter A Pass released his collaborative Buwooma EP with producer Kaboo — with the title track reaching number one on trending charts across Uganda — the music industry has been shaken by a public and escalating feud with fellow artist Eddy Kenzo. What started as subtle social media commentary has grown into direct demands for an apology, fan divisions, and pointed references to wealth, intellect, and legacy. Circulating screenshots show heated exchanges on X, a massive Sikumanyi billboard promoting Kenzo’s new project, and older photos of the two artists together.
This is more than a typical celebrity disagreement. It is unfolding amid Uganda’s ongoing debates over the Copyright and Neighbouring Rights (Amendment) Bill, where both artists have significant stakes in musicians’ rights but appear to hold very different views and approaches. At the center of the conflict is a fan’s claim that Kenzo was trying to outsmart A Pass, Kenzo’s response to that claim, and A Pass’s assertion that he is the bigger artist who deserves an immediate apology.
Who is A Pass in Ugandan music?
Born Alexander Bagonza on December 21, 1989, in Kampala’s Mengo area, A Pass grew up in a family of seven and developed his voice in church choirs before performing at school events. He draws from reggae, dancehall, and Afro sounds, building a career based on lyrical depth, versatility, and independence through his Iamapass Records label. Early hits and steady output have made him a longstanding figure in Uganda’s music scene, with fans praising his artistic dedication.
A Pass has positioned himself as more than a hitmaker — he is also an advocate. Media personality Douglas Lwanga recently highlighted his commitment during Julius Kyazze’s tenure as president of the Uganda Musicians body. His latest project, the Buwooma EP (released March 6, 2026, in collaboration with Kaboo), features the viral title track that has dominated trends. Promotional imagery for the EP, including teasers for the upcoming single “Miracles” set for release on April 10, shows A Pass maintaining strong street-level momentum.
In recent exchanges, A Pass has emphasized his stature, declaring himself “the Big One” and insisting on respect. His responses are measured, using polished English.
Who is Eddy Kenzo and what is his background?
Born Edrisah Kenzo Musuuzah on December 25, 1989, in Masaka, Eddy Kenzo’s story is one of survival and determination. After losing his mother at a young age, he spent over a decade living on the streets of Masaka and Kampala. He initially dreamed of a football career before turning to music, eventually breaking through with energetic dancehall anthems like “Sitya Loss.” International success followed, along with business ventures through Big Talent Entertainment.
Today, Kenzo holds multiple roles: singer, executive, and president and founder of the Uganda National Musicians Federation (UNMF). He has paused his own music releases to focus on building industry structure, particularly around copyright protections. Recent billboards promoting his upcoming project Sikumanyi, placed in busy Kampala streets and featuring branding from Apple Music and Spotify, signal his return to releasing music. He has also served as a Presidential Advisor on creatives, earning both praise and criticism for his involvement in policy and politics.
Kenzo’s style remains rooted in street energy; his public statements often blend Luganda with informal English. Fans credit him with hands-on union work, including efforts to secure neighboring rights and fair royalties.
What are the main differences between A Pass and Eddy Kenzo?
Both artists are 36 years old, born weeks apart, and major figures in Ugandan music. Their paths, however, are markedly different:
- Background and Persona: A Pass grew up in a more stable Kampala environment with church roots and formal education. Kenzo’s early life was defined by street survival, lost family, and self-made success.
- Music Style and Career Arc: A Pass delivers consistent, lyric-focused reggae and dancehall with an emphasis on artistic longevity. Kenzo rose to fame with high-energy dancehall hits but has increasingly shifted toward executive leadership, placing his music career on hold to advocate for the industry.
- Industry Role: A Pass has remained an independent artist with past involvement in union matters under Kyazze. Kenzo currently leads the national federation, engages directly with Parliament, and publicly explains bill clauses, making him a central figure in policy discussions.
- Public Image: A Pass presents himself as a veteran artist who commands respect. Kenzo embodies the resilient underdog who became a leader, often linked to national conversations and policy debates.
These contrasts have fueled the current tension: one seen as the dedicated artist, the other as the influential power broker.
How did the A Pass and Eddy Kenzo beef start?
The conflict traces back to recent discussions surrounding the Copyright and Neighbouring Rights (Amendment) Bill. Kenzo made comments in interviews about “neighboring rights,” which some initially misinterpreted as relating to rights between countries rather than performers’ royalties. He later clarified his position publicly.
On March 21, 2026, A Pass posted a statement widely interpreted as indirect criticism:
“He had his 15 minutes of fame. What you are seeing now is a man trying to drag it to 90 minutes and counting.”
Though no name was mentioned, the timing and context pointed toward Kenzo’s continued advocacy and the rollout of his Sikumanyi project amid the bill debates.
The situation intensified when influencer Valee posted:
“Eddy Kenzo thinking he can outsmart A Pass is so bold of him.”
This appeared to reference the copyright discussions, suggesting Kenzo was attempting to intellectually dominate peers like A Pass.
Kenzo replied directly:
“I can not Apass mugezi nyo thats why is very Rich” (accompanied by a hand emoji).
The statement was interpreted by some as acknowledging A Pass’s cleverness and wealth, while others saw it as a backhanded remark or an attempt to flex superiority in intellect and riches.
Critics quickly responded, with one user writing: “But will you really understand the details in the copyright with this kind of English, go back to adult education simububi.”
A Pass later addressed the situation directly, responding to Douglas Lwanga’s call for unity (which included an old photo of A Pass, another artist, and Kenzo together). In his post, A Pass stated:
“I appreciate your input, but where did all that drama stem from, because I don’t remember mentioning Eddy Kenzo’s name in a negative way. It’s a fan that made a statement, which he dignified with a response to try to belittle me, but I want you, Douglas, to remember that I am the Big One. He must apologize asap Rocky.”
He repeated the demand in Luganda, making clear he would not back down.
Media coverage described the situation as a “fan-fueled copyright outburst,” with A Pass insisting that Kenzo should apologize because he views himself as the bigger artist.
What has been the reaction to the A Pass vs Eddy Kenzo beef?
Douglas Lwanga urged both artists to meet over coffee, invoking the Baganda proverb “Agalya Awamu” to emphasize unity.
Fan divisions deepened, with posts pitting supporters against each other: one asked A Pass fans to retweet and Eddy Kenzo fans to like, accompanied by side-by-side photos.
Other reactions included mockery of Kenzo’s English in the context of copyright discussions, alongside defenses of his advocacy work.
Kenzo’s towering Sikumanyi billboards became a visual symbol of his momentum, while A Pass countered with continued promotion of Buwooma and upcoming releases.
As of March 23, 2026, Eddy Kenzo has not directly responded to A Pass’s latest demands on X, choosing instead to focus on his projects and continued clarification of the bill.
What does the A Pass and Eddy Kenzo feud mean for Ugandan music?
This feud highlights deeper divisions within the industry: the tension between pure artistry and institutional leadership, the role of ego in advocacy, and the way social media turns fan commentary into personal conflict. Both artists have contributed meaningfully to creators’ rights — Kenzo through the UNMF and direct engagement with the bill, A Pass through consistent output and earlier union involvement — yet they now find themselves at odds over interpretation, respect, and public image.
Copyright protections remain critical in the streaming era, particularly for royalties and neighboring rights. Turning that conversation into debates about wealth and intelligence risks overshadowing the larger issues.
Both A Pass’s recent Buwooma success and Kenzo’s Sikumanyi rollout demonstrate that each remains commercially relevant. An old photo of the two together suggests there was once camaraderie. Whether they follow Douglas Lwanga’s suggestion to sit down remains uncertain.
In an industry that needs collective strength to address piracy, fair compensation, and global exposure, this episode serves as a reminder that even major figures can stumble when pride takes center stage. The next move belongs to Kenzo — or perhaps to a shared table over coffee, as unity advocates hope.
The screenshots capture the unfiltered escalation of this moment. As the conversation continues, discussions about copyright, legacy, and mutual respect have grown louder than ever in Uganda’s music community.
