The incident occurred during Hajji Kazibwe Kapo’s concert, which attracted a large crowd of fans, political figures, and entertainment industry stakeholders. The atmosphere quickly shifted from festive to tense when King Saha, born Mansoor Ssemanda, spotted Minister Kasolo seated in the audience alongside his wife.
Without hesitation, the singer launched into his controversial diss track “Kasolo Mujje”, a song widely believed to be targeting the minister, and performed it directly facing the VIP section where Kasolo was seated.
Witnesses at the event described the moment as both shocking and electrifying. While some members of the crowd cheered loudly in support of the performance, others appeared surprised by the boldness of the artist confronting a sitting government minister in such a direct manner.
Video clips circulating on social media later showed Minister Kasolo visibly uncomfortable as the performance continued. According to attendees, the DJ briefly reduced the stage lighting in an attempt to calm the situation, but the message had already been delivered.
Roots of the Feud
The confrontation is the latest chapter in a long-running dispute between King Saha and Minister Kasolo, which began in late 2025 after Saha’s homecoming concert in Kyotera District was abruptly cancelled.
The concert, which had been highly anticipated and heavily promoted, was halted by police just hours before it was set to begin. Authorities cited insufficient security deployment during the politically sensitive election period as the reason for the cancellation.
However, King Saha publicly rejected that explanation and accused Minister Kasolo of orchestrating the cancellation. The singer alleged that the minister, who represents Kyotera County, used his influence to frustrate the event in order to weaken his popularity in the region.
In multiple interviews following the incident, Saha expressed frustration and disappointment, claiming that the decision unfairly targeted him and his fan base. He questioned why a concert in his home district would be blocked at the last minute despite prior approvals and preparations.
Minister Kasolo, on the other hand, strongly denied the allegations. He maintained that he had no role in the cancellation and explained that decisions regarding public events fall under the jurisdiction of security agencies such as the Uganda Police Force.
He dismissed the accusations as politically motivated and suggested that the controversy was being amplified for attention and publicity.
Music Becomes the Weapon
Following the cancellation dispute, King Saha turned to music as his primary form of response. He released the track “Kasolo Mujje”, a song that critics and fans interpreted as a direct attack on the minister.
In the song, the word “Kasolo” is used metaphorically to represent a disruptive force, which listeners connected to the ongoing feud. The track quickly gained attention online and on radio stations, further intensifying the conflict.
He later followed it with another song titled “Nva Kyotera”, which reinforced his connection to his birthplace and his frustrations over the cancelled concert.
The situation escalated into one of the most visible entertainment-politics clashes in Uganda’s recent cultural scene, drawing commentary from both political analysts and music industry observers.
The Namasuba Moment
At the Namasuba concert, King Saha took the confrontation to a new level by performing the diss track in the physical presence of Minister Kasolo.
Eyewitnesses say the singer appeared deliberate and focused, delivering lyrics while maintaining eye contact with the VIP section. The performance created a tense but highly charged atmosphere inside the venue.
Some fans described the moment as a powerful artistic expression and a show of fearlessness. Others felt it was disrespectful, especially given that the minister was present with his spouse.
Security personnel reportedly monitored the situation closely, but no physical confrontation occurred.
Public Reaction
As footage of the performance spread online, reactions were sharply divided. Supporters of King Saha praised him for standing up against political interference in the music industry and using his platform to speak out.
They argued that artists often face hidden pressure and cancellations and that Saha’s actions highlighted broader issues affecting creative freedom in Uganda.
Critics, however, accused the singer of escalating tensions unnecessarily and involving political figures in entertainment disputes in a way that could have been avoided.
Some also expressed concern about the personal nature of the confrontation, especially the fact that Kasolo’s family was present during the incident.
A Growing Pattern of Artist-Politician Clashes
Uganda has seen several instances where musicians and political leaders clash publicly, particularly during election seasons. Analysts say such incidents reflect the growing influence of artists in political discourse and their ability to shape public opinion.
King Saha’s latest confrontation adds to his reputation as one of the more outspoken musicians in the country, known for blending music with political commentary.
Minister Kasolo, meanwhile, has maintained a consistent position that he does not interfere with artistic events and continues to focus on his government duties.
