Acclaimed rapper, Keko, who has since resettled in Uganda says breaking up with her former producer, Just Jose and former manager, Shadrack Kuteesa, is top among the things she regrets the most in her music career.
The obvious one being her deal with Sony Music Entertainment, something she has repeatedly brooded over as having upended her music career and led her down an ugly phase of desolation.
Keko, credited for redefining rap in Uganda and taking the Ugandan sound to the continental stage as far back as 2011, told Plugged in an exclusive interview, that the seven years she spent in Canada reminded her how much Uganda is special. The grass looks greener on the other side until you get there, she says.
In 2012, at age 25, Keko signed to SONY Music Entertainment Africa, the local arm of Sony Music Entertainment, an American music corporation that is the second-largest record company and the largest music publisher in the world.
She had secured a full management contract that put her on the same label on whose roster music giants like Michael Jackson, R. Kelly, Mariah Carey, Alicia Keys and Usher had once been.
But soon, the 2011 Channel O award-winner (Most Gifted East African Video) would discover that the thing she, like most artistes, had always fantasized about, would be the very thing that put her quick rise to fame in jeopardy, cost her essential relationships and sunk her into drug addiction.
RELATED: Fame, Sony and a sudden death of a career: Keko’s long struggle with drugs
In a sit-down with Plugged, Keko opened up about her regrets, the price she has paid for fame attained at a young age, the making of her chart-topping hit song (How We Do It) and how losing her mom influenced her musical direction.
Good to have you in the country after a long time. What’s the feedback been so far?
So far, the welcome has been very warm. Everywhere I’ve gone, everyone has been so excited to see me. Which is a good thing. And all they ask for is new music. Which puts me under pressure. I’m just looking forward to getting in touch with my fans.
Uganda lacks the sound that can appeal to the global market. Whose sound do you think has the potential to cross over?
I think the Ugaboys are doing a good job. I listen to Salary and I’m like ‘Now, that’s a song that can cross’. The Benti Boys. I listened to Wanawankya and thought that can go. Joshua Baraka and Kohen Jaycee too.
But then I don’t know. It ends up being Eddy Kenzo at the BET and Grammys. Then I’m like, ‘What am I missing? Where is the international sound? What is it doing differently?’ There are lots of Ugandan artistes that are good. It’s just them focusing on one thing – the local market which is where they want to get their bread and butter.
But if they really wanted to go like Asake or Rema level, they could do it. They are just not interested.
Some say that’s what Swangz Avenue has been trying to do with Azawi. What do you think about her sound?
I think I like her sound. I think Benon is behind it because he likes international sound. I performed with Benon in Ethiopia at the Selam Festival and he’s always been a supporter of my music. So, I can understand Azawi’s direction because of Benon. And I think she’s doing a good job.
I think she’s getting there.
If a record label like Swangz, which is the most reputable in Uganda today, expressed interest in managing you as an artiste, what would you say to them? And what would be your conditions? Given the bad history you’ve had with a record label.
I would say Yes to them. I would tell them management, distribution, and getting me as many shows as possible. I would tell them good quality albums, good sound, which Benon understands. My conditions wouldn’t be very many or unmanageable.
I would want creative control, which every artiste wants, and being able to make money.
If they reached out to me, I would say Yes, because they understand the business and they know what they are doing.
In March 2016 just before you released your EP (Love from Venus) you said it would be your last. You put out a tweet and wrote… “I’m sorry if I have disappointed anyone but after long thought I feel it’s for the best. Yes, I’m retiring from recording music. I hope my last compositions add to the legacy. Thank you for being supportive and buying the music”. Where was this coming from?
That was coming from the frustrations with SONY. Them holding onto the music and not releasing stuff. And me feeling like hopeless and frustrated generally. I felt I had given it all I could give but I wasn’t getting anything out of it.
And I just thought It was a good time to just take a break. And I didn’t think it was gonna be just a break because I felt like I was actually done at the time. Those 5 years with SONY were grueling. I even went into depression because of it. But that’s how I felt at the time.
Around the same time, you did an interview with Urban TV and said you had experienced everything there was to experience in Uganda, and that you liked a challenge. If it (challenge) was not happening for you, it wasn’t inspiring. Seven years later, here we are. Not much has changed. In fact, some will say the gap you left is the gap you’ve found. Is it not likely you could run out of the zeal yet again?
Ummmm… I think I’m older now. I’m more mature. I can manage my emotions better. Which I didn’t have before. I don’t think it’s going to be the same because I know what to expect from the industry and everything else. And with the movies, that’s also an avenue, if this (music) doesn’t work out, I can always branch out into the movies. And if the movies don’t work out, I can come back to the music.
Now, I’m not signed to SONY. I feel like a free bird. I can do whatever I want. I can go to studio today and release a song tomorrow if I wanted. Which wasn’t the case then.
What are your immediate plans regarding film? You went to Film School and I’m sure you came back with some ideas.
My plans are pretty much shooting my short film. That’s my first focus. If I can get the funding, I can get my projects underway. Maybe write my first feature film. But right now, I’m still focusing on the music. Probably the music can fund the movie.
Any particular Producers and Directors you have always wanted to work with?
I’m a Producer and a Director. But in terms of actresses, I would like to work with Tracy Kababito. I think she’s amazing. I saw her on one of those short films (Katera of the Punishment Island) on Netflix and I think she was great. Uhmmm yeah. Nana Kagga (Pieces of Me and Beneath the Lies) is also a good Producer. I think she would be amazing on my project as well.
WATCH THE FULL INTERVIEW WITH KEKO…
