A number of arts and entertainment connoisseurs have decried the lack of multi-star collaborations in the modern era of Ugandan music.An understandable gripe when you consider that those collaborations have long been a traditional feature of our scene.
Think back to the “Millennium Song” project of Emperor Orlando and Steve Jean at the turn of the century.Think back to 2006’s “A Little Bit Of Love”,again by Steve Jean,featuring several stars of that time,including the likes of Kid Fox,Julianna Kanyomozi,Maurice Kirya and Annet Nandujja.Cast your mind back to “Mr.DJ” and “Whistle Song” by Swangz Avenue in the latter years of that decade.
Remember “Inna di Dance” by Bobi Wine’s Firebase Crew and Mega Dee’s Afande Records,as well as Magic Washington’s Gudlyfe-assisted “Magic Anthem” circa the same time period.And these are just a few of the most prominent.Lately,we don’t seem to get such projects anymore.Collaborations obviously still happen,but usually they involve two,or at the very most three artistes at the peak of their powers joining forces.
“Party Culture” is an attempt to rectify the relative reduction of that phenomenon,and boy is it an adequate one.Nominally,”Party Culture” is by FBM head honcho Feffe Bussi,featuring an ensemble cast of some of the biggest stars in the land.However,the way everybody bodied their parts takes away sole ownership from any one person.As the kids say these days,everybody ate and left no crumbs.
Built upon a bouncy bassline from the classic “Bam Bam” riddim,Di Mario at Legend Production spices it up further with a frankly enchanting snare.
But this song’s real magic lies in the lyricism showcased by every single artiste.It all starts with Nina Roz opening by declaring “Bwensalako ekidongo nze siba yala/Kuba sente eza abalenzi z’abawala…”.
Is there anything more emblematic of bar culture than the boys spending their money on the girls?I don’t think there is.Feffe Bussi picks it up masterfully,waxing philosophically “…bamu banywa liquor abalala Ice Bimbo buli omu n’ekimumalira ennaku yye…”.
The statement alone is impressive because indeed,everybody has their poison of choice,but it is elevated a step higher by the double entendre of the “ice bimbo”,referring both to the once popular childhood delicacy,and also the hard drug Crystal Meth AKA “Ice”,which is currently causing consternation due to its prevalence in Kampala,especially among those in arts & entertainment circles.
Reported Fefe Bussi baby mama Karole Kasita then takes over,switching the vibe from serious to sexy with her characteristic low pitched delivery.She also shares the catchy chorus with Nina Roz and Feffe,whose “Kuba Kuba” refrain captures the Ugandan slang “beating party”.
You can’t have Ugandan dancehall royalty without John Blaq,who comes through next with his unmistakable tight rhyming.He uses his verse to inform his party partner that “…osobola okunfuna woyagalira/Mubiri ngulina nina nne stamina”.Literally,she can access him whenever she wants.And not only that,he assures her that he has both the body and the energy to give her a good time.
Of course it isn’t a John Blaq masterpiece without his trademark garbled delivery,and the incoherent patois that ends the verse serves that purpose perfectly.
Feffe then drops another strong verse,observing that “…oba okyalobedde ku oli akyuka/N’owa kabina naye natuuka”.As your attention is still under arrest by the hottie twisting and turning her body,along comes a baddie with a bountiful booty to bamboozle you anew.It is a humourous application of imagery,but it seriously captures the reality of what actually happens in the bar.
The chorus is then repeated,before the song takes a wonderfully weird plot twist.
Dancehall icon Coco Finger,who is,in recent years,making a habit of turning up on the younger generation’s anthems,having also made an appearance on the 2020 Voltage Music hit “Go Down”,goes next,opening with his signature “Zigliziglizigliziglizindi”.
Rather than sound out of place,a genuinely strong verse built on his standard rhymes and interpolation of Swahili follows.Coco’s veteran vibe does two things.One,it reminds listeners of the “Emikono Wagulu” hitmaker’s status as a maestro of this genre.But more importantly,it gives “Party Culture” a nostalgic element perfectly in line with Di Mario’s old skool track.
Everybody involved in the making of this song,from the artistes to the producer is a star(or in Coco Finger’s case,an icon)and for good reason.They are really really good at their jobs.This project sees them combine their gigantic individual talent into a behemoth of a unit.The inevitable result is top class work all round.
