Will ‘Mummy Nzize’ revive Mesach’s career?

Aug 07, 2008

MESACH Sema-kula’s star had seemed to shine brighter by the year since his 2003 groundbreaking album <i>Tukwegomba</i>Bangi. His 2005 <i>Abakazi Abaguma</i>album was the climax of his meteoric rise to the top of his game.

By Sebidde Kiryowa

MESACH Sema-kula’s star had seemed to shine brighter by the year since his 2003 groundbreaking album TukwegombaBangi. His 2005 Abakazi Abagumaalbum was the climax of his meteoric rise to the top of his game.

Although he stayed within the top echelons of Ugandan music, Semakula’s star began to wane with subsequent projects.

What could be the problem? “Music is a mix of luck and being spot-on with what people want,” says Collin Mutambo, the programme director of Radio Simba and a music critic. “I think Semakula’s last two albums (First Aid and Tezibirwa Kubo) were too similar in style and music. He was becoming too predictable.”

This begs the question, does Mummy Nzize, his latest album, run the risk of falling into the same trap?

Although there is a lot of similarity in music — snares, tones of the kick and basslines, Semakula also treads where few local pop musicians dare, but with amazing results.

Njagala Nyimbire Omutanda is a glaring example of his venture into traditional organic sounds. In the song, Semakula brings to the fore Kiganda folk music with all its trappings — charismatic singing and a rich repertoire of traditional instruments. There is a burst of musical energy as all the instruments connive to produce an entertaining and ear-tingling sound.

The song praises the Kabaka. Semakula could not have chosen a more “patriotic” time for his Baganda fans than this — when tensions between the Government and Mengo are spurring feelings of belonging amongst many Baganda.

The song has already stirred a lot of public interest, especially with its equally exhilarating video.

On the title track, Mummy Nzize, Semakula uses hooks and grooves that are influenced by Congolese rumba. The mid-tempo Afropop song makes for easy listening. Its biggest strength lies in the theme — a lamentation of how things are changing for the worst.

To avoid sounding preachy, Semakula tactfully comments on the social vices through a conversation and asks for advice on how to wade through the murky waters of life.

He then picks up the pace on the reggae-tinged Njagala Kutegeza in which he reassures a woman of his love.
Like most of his previous albums, Semakula includes a Gospel-tinged song on this one.

Nzize Mukama, a reggae-infused cry for help from God, is a good listen.
With the exception of Nakazaana, a rendition of Philly Lutaaya’s song, the rest of the songs are typical Ugandan pop fare.

There is Walumbe Mubbi, in which Semakula urges people to have fun because life is short. There is also the dancehall-influenced Afrobeat Abawagizi Bange in which he thanks his fans for their support.

Going by the performance of Njagala Nyimbire Omutanda and the title track, Mummy Nzize could just be the needed antidote to Semakula’s career setback.

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