The evolution of house music in Kampala, from the early sounds that defined the city's dance floors to the global rise of Amapiano, took centre stage at the latest edition of Vuma Piano held at Mestil Gardens on Saturday.
For many Ugandans, house music is more than a passing musical trend. Its infectious rhythms, deep basslines and electronic arrangements have been part of the country's nightlife culture for more than a decade.
The genre began gaining popularity in Uganda in the early 2010s, initially attracting a relatively small but enthusiastic community that organised elaborate parties, experimented with different sounds and gradually built a following across Kampala.
At the time, international acts such as South African DJ and producer Black Coffee were taking house music to wider audiences, helping the genre gain recognition beyond the continent. Groups such as Mi Casa and alternative band Beatenberg also contributed to the growing appeal of South African music, with their songs featuring prominently on MTV Base and Channel O.
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As the genre developed, South Africa became the birthplace of another influential sound, Amapiano, which combines elements of house, jazz and electronic music, characterised by deep basslines, distinctive log drums and melodic arrangements.
Amapiano has since grown into a global musical movement, finding audiences across Africa, Europe and other parts of the world.
In Uganda, however, the growing popularity of the genre has sometimes resulted in different dance music styles, including house, garage and gumboot-inspired sounds, being grouped under the Amapiano label.
It was against this background that Vuma Piano brought together different musical influences at Mestil Gardens, offering an evening that celebrated both the roots and changing face of electronic dance music.
DJ FKR opened the event with a selection of familiar Ugandan records, setting a local tone before moving into electronic music.
His opening medley featured Radio's Neera, Afrigo Band's Oswadde Nyo, Joshua Baraka's Yoyo and Jose Chameleone's Jamila. Accompanied by a saxophonist, the selections brought together different generations of Ugandan music and provided a gradual transition into the night's house music experience.
FKR's set was notable for its unconventional selections, as he moved away from some of the familiar dance floor favourites, including Balele, Commasava and Bucie's Easy to Love.
Instead, he explored less predictable sounds, remixes and reworked records, including an interesting interpretation of Kid Cudi's Day 'n' Nite.
The performance offered a different approach to DJing, with an emphasis on musical discovery rather than simply playing songs audiences already knew.
DJ Vanns, a Johnnie Walker ambassador, also featured on the night's line-up, bringing his own interpretation of the house and Amapiano sounds. Zonke equally contributed to the entertainment, adding variety to the performances.
However, the night's biggest attraction was South African musician Zakes Bantwini, whose performance elevated the atmosphere at Mestil Gardens.
The Grammy Award-winning artist opened his set with the Ugandan national anthem, a gesture that immediately connected him with the audience before he proceeded with his performance.
The move offered a fitting introduction for an international performer appearing before a Ugandan audience, before he transitioned into the electronic sounds and rhythms that have earned South African dance music a global following.
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Bantwini's stage presence and energetic performance reinforced the appeal of Amapiano and related dance music genres, which have increasingly become fixtures at entertainment events across the world.
The event also brought together two prominent spirits brands, with Johnnie Walker serving as the principal sponsor, while Don Julio provided signature cocktails as part of the evening's hospitality experience.
Beyond the performances, the event offered an opportunity to reflect on the relationship between house music and Amapiano, particularly in Uganda, where the former had established a following long before the latter gained international popularity.
For those who experienced Kampala's early house music parties, the emergence of Amapiano does not necessarily represent a departure from the old sound. Rather, it reflects the continued evolution of a musical culture that has consistently embraced new influences while retaining its connection to the dance floor.
