STUDIO SCANDAL! As M7 demands answers, here’s how ‘selfish’ Bebe Cool spent musicians’ Sh2bn

Kampala – President Yoweri Museveni has publicly expressed frustration with long-time musical ally Bebe Cool, accusing the Gagamel boss of failing to deliver on a state-backed project meant to uplift Uganda’s creative industry.

For more than two decades, Moses Ssali, better known as Bebe Cool, has been one of the President’s most visible cultural supporters—using his music, public appearances, and outspoken persona to rally youth around the ruling National Resistance Movement (NRM).

That loyalty has often been rewarded. Among the most high-profile gestures was when Museveni reportedly facilitated the establishment of a Sh2 billion state-of-the-art music studio, entrusted to Bebe Cool to serve the wider Ugandan music fraternity.

M7 Rebuke

Speaking at a gathering in Munyonyo last week, during the launch of his 2026-2031 re-election bid campaign song, Museveni surprised many with his candid remarks.

“I was trying to work with Bebe Cool at first. He was trying to set up a recording center somewhere. I don’t know what happened,” Museveni said, his tone one of clear irritation and went on to inquire whether Bebecool was present for further grilling.

“Why hasn’t he made the studio available?” Museveni asked, signaling disappointment and raising questions of accountability over the public resources invested in the project.

This publication understands Bebecool received sh2bn from StateHouse for this studio.

It has further been revealed that he indeed set it up but instead allegedly made it his personal project. He shut off from the wider music industry.

Kenzo Steps Into the Spotlight

In sharp contrast, Museveni heaped praise on Eddy Kenzo, Uganda’s Grammy-nominated star and now head of the Uganda National Musicians Federation (UNMF).

“I want to congratulate Kenzo, Nyamutoro, and all the musicians for finally getting organized,” Museveni said, commending Kenzo’s leadership in uniting artists and advocating for industry reforms.

Analysts note that Museveni’s praise of Kenzo, while chastising Bebe Cool, reflects a shift in patronage: from long-standing allies like Bebe Cool and Jose Chameleone toward younger, more organized industry figures with demonstrable achievements.

Patronage Under Pressure

The rebuke has sparked heated debate within Uganda’s entertainment circles. For years, critics have accused Bebe Cool of monopolizing state favors without translating them into industry-wide benefits.

On social media, fans and musicians alike questioned how a Sh2 billion project intended for the entire music industry could end up as Bebe Cool’s private asset. Some even suggested the government should reclaim the studio and hand it over to the Musicians Federation.

Observers say Museveni’s public criticism marks a turning point. “For the first time, the President has called out one of his cultural allies for failing to deliver,” a Kampala-based political analyst observed. “It sends a signal that state patronage is no longer a blank cheque.”

A New Era of Accountability?

The incident also raises broader issues about how government funding is allocated to creative projects, and whether systems exist to ensure transparency and shared benefit.

With Kenzo emerging as a new favorite in State House and the Federation gaining momentum, some believe the era of personalized patronage in Uganda’s music industry may be waning—replaced by expectations of tangible results.

For Bebe Cool, the fallout is potentially damaging. His brand has long rested not only on his music but also on his image as Museveni’s most trusted cultural soldier. Now, with the President openly questioning his stewardship of the studio project, that image may be at risk.

What Next?

Whether the government will intervene in the ownership and operation of the studio remains unclear. But one thing is certain: Museveni’s words have altered the power dynamics in Uganda’s entertainment industry.

The message from State House is blunt: artists who seek government support will now be judged not only by their loyalty—but by their ability to deliver collective benefits to the industry.