When did the Dexta Daps concert happen in Kampala?
The Noise Nation Festival featuring Dexta Daps happened on December 14, 2024, at the Lugogo Cricket Oval in Kampala. However, it has drawn both applause and criticism in its aftermath. Headlined by Jamaican dancehall sensation Dexta Daps, the highly anticipated event featured a mix of local and international artists in a celebration of music, art, and culture. Some performers included Azawi, Ava Peace, Zafarani and several others. What stood out the very most was the way Dexta Daps was dancing with girls on the stage in a very seductive manner. This comes just days after Uganda Communication Commission banned vulgar songs from Ugandan musicians. The Noise Nation Festival was pretty much a tremendous success.
However, the provocative nature of Dexta Daps’ performance has left many questioning the boundaries of artistic expression in Uganda.
What has Balaam Barugahara said about the Dexta Daps concert?
Renowned event organizer Balaam Barugahara has openly condemned the concert, labeling parts of it as “vulgar.” He expressed his dismay at the performance, particularly targeting its explicit content, which he deemed inappropriate for Ugandan audiences. In a strongly worded statement, Barugahara criticized the event sponsors, including Uganda Breweries Limited and its brands Uganda Waragi and Bell Citrus, for supporting what he described as a “live p0rn show.”
“We must take a stand against vulgarity in music,” Barugahara remarked. “It’s not enough to criticize local artists like Gravity Omutujju and Lil Pazo for explicit lyrics. We must hold international performers to the same standards, especially when such acts are supported by our leading companies.”
What did Noise Nation say about the concert they organized?
The Noise Nation Festival had been marketed as a groundbreaking cultural event, featuring a blend of local talent, including Azawi and Vinka, alongside global acts like Dexta Daps and Ya Levis. Organized by Swangz Avenue and House of DJs, the festival promised a sensory experience combining music, food, art, and fashion. While it delivered on entertainment, Dexta Daps’ sensual performance, for which he is globally known, drew the ire of some attendees and critics who argued it clashed with Uganda’s cultural values.
The festival sponsors defended their involvement, highlighting their commitment to supporting creative expression. Uganda Breweries, in particular, emphasized its alignment with initiatives that promote art and culture. However, Barugahara’s critique has reignited debates about the limits of artistic freedom and the need to protect cultural norms in Uganda’s entertainment landscape.
On the other hand, fans of the festival applauded the event for its world-class organization and ability to attract international stars to Kampala. Social media was awash with glowing reviews from attendees who appreciated the festival’s vibrant energy and inclusivity.
Barugahara’s remarks have raised larger questions about balancing cultural preservation with global artistic trends. Should Ugandan audiences expect a more filtered experience from foreign acts, or does this criticism stifle creativity? These are questions that the Uganda Communications Commission and stakeholders in the entertainment sector will need to grapple with as Uganda’s music scene grows increasingly global.
As the dust settles, one thing remains clear: the Noise Nation Festival was as much a cultural milestone as it was a lightning rod for controversy. This brings Uganda’s evolving relationship with art, identity, and values into sharp focus.
