Lubwana is finally singing!

Feb 10, 2005

Kato Lubwama, 35, also called ‘Biiso,’ (the wide-eyed one), has made it in the entertainment business

By Joseph Batte

Kato Lubwama, 35, also called ‘Biiso,’ (the wide-eyed one), has made it in the entertainment business.

His achievements include a top local drama group called Diamond Ensemble, a vibrant band called Diamond Production, which has nurtured musicians. Kato’s band has nurtured chaps of the Eagles Production Band that have won the hearts of many Ugandans.

He owns Cooper Theatre, the only air-conditioned theatre in Uganda. He is one of the best songwriters in the country. This he has done for the last 10 years, though he has not been very strong vocally.
He has been trying to convince us he can sing, and not croak like a frog. However, this time, he has quite proved himself on his new six-track album titled Oli Namba Emu, which will be released on Valentine’s Day at Power Music Centre on Cooper Complex.

His husky voice sounds more rounded and resonates with a feeling that was previously lacking.
Oli Number Emu, the title track, is the hottest track on the album. It is driven by a common reggae-meets-rumba beat. The track climaxes with clean guitar chops provided by Chiddo, an erstwhile, mild-mannered Congolese session guitarist. What attracts me to this number is the musicality. Innocent Kayizi uses the synths as independent, expressive instruments.

‘Banka ya Byama byo’ is a terrific, thought-provoking rocker on which Lubwama hits at those he thought were friends, but instead stabbed him in the back.
His priceless advice is: “don’t let your left hand know what your right hand is holding.” In other words, keep your secrets.

Temperature and Olutimbe are radiant songs meant for the floor. Clean guitar arpeggios provide the fun while Obufumbo sees Lubwama and Kayizzi experimenting with some serious one-drop reggae.
In Obufumbo, he croons that marriage is all about compromise, agreeing to disagree and taking care of your better half.

The high points? Producer Kayizi once again does a fine job trying to populate the album with reggae, ragga, rumba and zouk.

The keyboards, bass, brass all seem to be bursting with passion as if he were playing them live.
The low points? Almost none except the synthesisers that sound menacing at some point and sketch three quarters of the album. Nonetheless, treat that as minor quibbling or ignore it.

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