Tribute to maestro Moses Matovu

My dear friends and peers,

It is with a profoundly heavy heart that I share my grief over the sudden and tragic passing of our musical elder, Maestro Moses Matovu.

For many of us, this loss feels deeply personal. Our minds inevitably travel back to the early 1970s, when we were pre-teens, teenagers, or young adults, captivated by the brilliant young musicians of The Cranes Band.

We watched a young Moses emerge on the national stage, bringing life and creativity to an era whose turbulence would shape the rest of our lives.

When The Cranes Band eventually dissolved, his resolve never faltered. In 1975, he became one of the co-founders of Afrigo Band, a cultural institution that would go on to define modern Ugandan music. In doing so, Moses joined that rare class of institution builders who dedicate themselves to a singular calling and remain faithful to it for life.

His life's work belongs in the same broad tradition of cultural stewardship exemplified by figures such as Dr Jane Goodall in conservation, the late Professor Livingstone Walusimbi in the development of Luganda studies, Professor Oswald Ndoleriire in the advancement of Runyakitara and French linguistics, and Dr Albert Ssempeke in preserving the musical heritage of the Buganda royal court.

Like them, Moses understood that culture and heritage are not mere pastimes; they are foundations of national identity and continuity. Through every political and social season, he remained anchored to his saxophone, his language, and his craft.

Yet one of the qualities that made Moses such an enduring institution builder was his remarkable loyalty. As fellow Afrigo pioneers including Tony Ssenkebejje, Herman Ssewanyana, and Rashid Musoke took their final bow, he ensured that neither their names nor their contributions were forgotten.

Through songs such as Tony, Twali Twagalana, and Oswadde Nnyo, he wove their memory into the living fabric of Afrigo's performances, allowing new generations to encounter the men who helped build the band.

In doing so, he reminded us that enduring institutions are never the work of a single star, but of generations of committed individuals.

His tributes were acts of gratitude, friendship, and brotherhood that resonated as deeply as the sound of his beloved saxophone.

Above all, Moses was a magnificent storyteller. He wielded the Luganda language with remarkable precision, depth, and creativity. Who else could seamlessly weave a rare and evocative word such as “olunderebu” into a song lyric, perfectly capturing the burden of relentless nagging while still keeping audiences firmly on the dance floor? He gave us the soulful beauty of Maria for our reflective moments and the infectious energy of Sikulimba when celebration called.

He was also a musical chronicler of society, documenting our history, values, and experiences in real time.

 In Mukulu Tuzze, he celebrated the heritage of the Baganda clans. In other compositions, he paid tribute to our traditional foods, helping preserve aspects of our cultural identity for future generations.

He captured the widespread joy surrounding the marriage of Kabaka Ronald Muwenda Mutebi II and Nnabagereka Sylvia Nagginda, providing part of the soundtrack to what many fondly remember as a historic national celebration.

Through songs such as Musa, he counselled young men navigating life's challenges. In Olumbe lw'Obwavu, he explored the anxieties and contradictions of poverty and economic struggle.  

Likewise, Speed Kendeezako spoke directly to a changing Kampala. It captured a period when fast cars, expanding roads, and urban social life combined to create both excitement and danger.

The song remains as relevant today as when it was first released, reminding us that modernity without restraint carries its own risks.  His music consistently held a mirror to society, reflecting both its aspirations and its shortcomings.

Afrigo's music also reflected the anxieties and hopes of different political eras. In Empisi y'Empisi, listeners found enduring lessons about deception, opportunism, and the importance of discernment in public life. Moses possessed a rare ability to transform social observation into timeless art.

His impact can even be traced in our vocabulary. Many Ugandans returning home after years abroad discovered that expressions and references drawn from Afrigo's music had become part of everyday conversation. The name Ssemadongo transcended the stage and entered popular usage, becoming inseparable from the band's enduring legacy.

A lifetime devoted to resilience, culture, and storytelling must not be allowed to fade from public memory. There is a compelling case for preserving Moses Matovu's legacy through a dedicated cultural heritage centre or museum that can house his saxophones, handwritten lyrics, recordings, photographs, and archival materials.

Future generations deserve the opportunity to understand not only his music but also the extraordinary discipline and commitment required to help shape modern Ugandan culture. They should learn about the venues, musicians, and communities that nurtured this remarkable artistic journey, from Little Flowers to Club Obligato and beyond.

Though he has left us, the King of Ssemadongo has left an indelible mark on Uganda's cultural landscape. His melodies will continue to echo through our homes, our celebrations, and our memories for generations to come.

Rest in Peace, Papa Moi.

The writer is an Agro-business consultant and a board member of DFCU Foundation