Babaluku, a true hip hop messiah
IF Ugandan hip-hop were a kingdom, I would gladly and confidently say Babaluku (Silas Balyabyekuubo) is the king or at the very least, heir to the throne. <br>
By Jude Katende
IF Ugandan hip-hop were a kingdom, I would gladly and confidently say Babaluku (Silas Balyabyekuubo) is the king or at the very least, heir to the throne.
He and his partner Saba Saba (Alex Kirya) who comprise the Bataka Squad, have risen steadily to inspire many other local rappers to embrace hip-hop as a cultural identity, a voice of the oppressed and a medium of communication for the youth.
Bataka Squad are helping transform local hip-hop from a genre widely viewed as blatant aping of American street culture into a respected mode of expression.
Unlike most local hip-hop artistes like Klear Kut and Lyrical G, who use English as the primary language of expression, Babaluku and Saba Saba speak about the problems affecting their society in Luganda — a style they call Luga Flow. And it has paid off.
Today, Babaluku’s music is playing on mainstream radio. I know, a deep social commentary, which features Benon and Vamposs, is on Sanyu FM’s countdown while one of his videos is on the NTV countdown.
“Radio had shied away from what we were doing, but now they are playing our music. They have seen the light.†He was recently hosted on Sanyu FM and Vision Voice, alongside Tshillah and Saba Saba.
With the help of reputable producers from Canada Infin8, Audio Minds and Makem Def, Wanlov of Ghana, Sweden-based Kado, New York’s Jeremiah, Belgium’s DJ Glue and Uganda’s GK, Babaluku has come up with what can be called a masterpiece — his latest album Luga Flow Revolution.
A 20-track album, Luga Flow tackles a number of pertinent issues ranging from politics, religion, drugs to the Mabira Forest saga and poverty.
On Tukoye Eno Embeera (tired of this situation), a mid tempo and guitar-backed track, Bataka Squad wonders when Ugandans will escape the jaws of poverty and disease.
Equally engaging is Abagenze (the departed), a sad and poignant depiction of HIV/AIDS orphans’ struggles with life and their determination against the odds. The song is treated as the “story of Africaâ€.
Those into serious or “phat beats†will find Agenda Agenze engaging. Its chipmunk English infusion on the chorus and guitar licks, an apparent sampling of an old song, stand out. Abawagizi, a song about Bataka Squad’s roots, is dedicated to the group’s fans.
Politics features Canadian rapper Acesthetic. In typical Busta Ryhmes and Twista styles, Babaluku swiftly engages his listeners on Ebibuzo (questions), arguably one of the most skillfully effected tracks lyrically and in terms of flow.
Several questions are posed about what it takes to live well in Uganda despite its many hurdles. The chipmunk-infused Jukira Obuto is equally infectious and perhaps even better. The song looks back at the ignorance and innocence of infancy. Kampala is about survival in a city of street smart people.
Tufa Enjala (we are dying of hunger), which samples oldies’ Lingala songs, is a true testimony to Babaluku’s creative genius. He fuses traditional Congolese sounds with contemporary hip-hop beats to create an alluring sound. Str8-spit “attacks†Bataka Squad’s enemies in true western hip-hop style.
Hailing African “revolutionalists†on Travelling Man, Babaluku explains why freedom is not a religion.
Nva mu Africa (Born in Africa) is a good listen despite its blatant poor Luganda intonation and accent by the lady who sings the intro. Laden with heavy hip-hop beats and samples reminiscent of those widely used by American rappers, Lugaflow is a must listen for local hip-hop fans who may find its message and delivery engaging.
Babaluku, who wrote all the songs, demonstrates versatility and creativity. The album will appeal to many people.
IF Ugandan hip-hop were a kingdom, I would gladly and confidently say Babaluku (Silas Balyabyekuubo) is the king or at the very least, heir to the throne.
He and his partner Saba Saba (Alex Kirya) who comprise the Bataka Squad, have risen steadily to inspire many other local rappers to embrace hip-hop as a cultural identity, a voice of the oppressed and a medium of communication for the youth.
Bataka Squad are helping transform local hip-hop from a genre widely viewed as blatant aping of American street culture into a respected mode of expression.
Unlike most local hip-hop artistes like Klear Kut and Lyrical G, who use English as the primary language of expression, Babaluku and Saba Saba speak about the problems affecting their society in Luganda — a style they call Luga Flow. And it has paid off.
Today, Babaluku’s music is playing on mainstream radio. I know, a deep social commentary, which features Benon and Vamposs, is on Sanyu FM’s countdown while one of his videos is on the NTV countdown.
“Radio had shied away from what we were doing, but now they are playing our music. They have seen the light.†He was recently hosted on Sanyu FM and Vision Voice, alongside Tshillah and Saba Saba.
With the help of reputable producers from Canada Infin8, Audio Minds and Makem Def, Wanlov of Ghana, Sweden-based Kado, New York’s Jeremiah, Belgium’s DJ Glue and Uganda’s GK, Babaluku has come up with what can be called a masterpiece — his latest album Luga Flow Revolution.
A 20-track album, Luga Flow tackles a number of pertinent issues ranging from politics, religion, drugs to the Mabira Forest saga and poverty.
On Tukoye Eno Embeera (tired of this situation), a mid tempo and guitar-backed track, Bataka Squad wonders when Ugandans will escape the jaws of poverty and disease.
Equally engaging is Abagenze (the departed), a sad and poignant depiction of HIV/AIDS orphans’ struggles with life and their determination against the odds. The song is treated as the “story of Africaâ€.
Those into serious or “phat beats†will find Agenda Agenze engaging. Its chipmunk English infusion on the chorus and guitar licks, an apparent sampling of an old song, stand out. Abawagizi, a song about Bataka Squad’s roots, is dedicated to the group’s fans.
Politics features Canadian rapper Acesthetic. In typical Busta Ryhmes and Twista styles, Babaluku swiftly engages his listeners on Ebibuzo (questions), arguably one of the most skillfully effected tracks lyrically and in terms of flow.
Several questions are posed about what it takes to live well in Uganda despite its many hurdles. The chipmunk-infused Jukira Obuto is equally infectious and perhaps even better. The song looks back at the ignorance and innocence of infancy. Kampala is about survival in a city of street smart people.
Tufa Enjala (we are dying of hunger), which samples oldies’ Lingala songs, is a true testimony to Babaluku’s creative genius. He fuses traditional Congolese sounds with contemporary hip-hop beats to create an alluring sound. Str8-spit “attacks†Bataka Squad’s enemies in true western hip-hop style.
Hailing African “revolutionalists†on Travelling Man, Babaluku explains why freedom is not a religion.
Nva mu Africa (Born in Africa) is a good listen despite its blatant poor Luganda intonation and accent by the lady who sings the intro. Laden with heavy hip-hop beats and samples reminiscent of those widely used by American rappers, Lugaflow is a must listen for local hip-hop fans who may find its message and delivery engaging.
Babaluku, who wrote all the songs, demonstrates versatility and creativity. The album will appeal to many people.