First, an apology is in order. For the past few years, the sQoop Awards have traditionally dropped on January 1. This year, however, circumstances beyond our control pushed the release to January 12. By now, everyone else has already unveiled their lists of the year’s best, but better late than never.

2025 began on a rather shaky note, but as the months rolled on, the industry found its rhythm. Despite the distractions of a politically charged season, artists still delivered. There was new music, solid albums, eye catching visuals and memorable performances. Competition was fierce, and choosing the standouts was anything but easy.

Breakthrough Artiste of the Year – Tracey Melon

Tracey Melon’s name dominated conversation this year, not only because of her music but also due to a comment that unintentionally amplified her rise. When Bebe Cool remarked on his annual list that he did not know a single song by her, fans reacted swiftly and loudly, shining an even brighter spotlight on an artiste whose work had already been speaking volumes.

Beyond the noise, Tracey Melon delivered a genuinely impressive year. Collaborations like Totta showcased her ability to blend seamlessly with other artists, while solo releases such as Ogenda Kukilaba and Tovayo affirmed her strength as a standalone act.

In a crowded field of new voices, she stood out for her melodic instincts and vocal finesse. She was not just present. She was memorable. For that reason, she earns the Breakthrough Artiste of the Year title.

Collaboration of the Year – See You Tonight

When Cindy declared See You Tonight, her collaboration with Omega 256, “Collaboration of the Year” during the song’s outro, it sounded bold. In hindsight, it was simply accurate.

The song struck a rare balance, blending nostalgia, vocal chemistry and broad mass appeal without feeling forced or formulaic. It travelled effortlessly across radio, playlists and live performances, resonating with listeners of different generations. Choosing any other collaboration as the year’s best would have required serious justification.

That is not to say the competition was weak. Good Idea by Elijah Kitaka and Dax Vibez came remarkably close, offering energy, synergy and strong replay value. Other collaborations that stood out across the year included Wanula by Ava Peace and Temperature Touch, Go Remix by Karole Kasita featuring Elijah Kitaka, Eden by Ava Peace and JPC, and Cheque by Bebe Cool featuring Joshua Baraka.

In the end, See You Tonight stood apart because it felt timeless. It was not just a successful pairing; it was a collaboration that understood its audience, its moment and its emotion, making it the clear choice for Collaboration of the Year.

Concert of the Year – Navio: Live with an Orchestra

Over the years, Ugandans have organised concerts that often feel like repetitions of previous shows, largely because there is rarely an X factor. But 2025 was different. Outstanding concerts came from A Pass, Naava Grey, Maurice Kirya, Pastor Wilson Bugembe, Kenneth Mugabi, Joshua Baraka and Nyege Nyege.

None, however, came close to what Navio did with an orchestra at Kampala Serena. Navio’s orchestra show signalled a decisive cultural shift in how Ugandan popular music understands itself, presents itself and claims space within the broader cultural economy. It was not merely a performance with live strings. It was a deliberate repositioning of hip hop from a youth coded, street defined genre into a nationally legible art form capable of occupying formal, high culture platforms without losing its core identity.

In a market often driven by immediacy and viral success, the orchestra show introduced a slower, more reflective model of cultural production that values legacy, cross disciplinary collaboration and national pride. It set a precedent that popular music in Uganda can aspire to concert halls without abandoning the streets, and that local artistry can define its own standards of prestige rather than borrowing them.

Video of the Year – Ray G, Owe’ishe

In a year when many artists treated music videos as an afterthought, it was easy to believe the form was slowly being abandoned. At one point, even the country’s biggest artiste had gone the entire year without releasing a proper visual, underscoring just how low the bar had fallen.

Against that backdrop, Ray G delivered Owe’ishe, a carefully crafted visual directed by Gad, a respected Rwandan film maker and music video director whose work has shaped some of East Africa’s most compelling visuals. Gad approached the song with restraint and intention, grounding it in culture while allowing contemporary influences to give it freshness and relevance.

Owe’ishe functioned as more than an accompaniment to the music. It worked as a choreographed performance piece, elevated by thoughtful costuming, controlled pacing and confident cinematography. Every frame served the emotion of the song rather than distracting from it.

In an otherwise underwhelming year for visuals, Owe’ishe stood out as a reminder of the power of a well executed music video. It proved that when treated seriously, the format can still elevate a song, deepen its impact and leave a lasting impression.

Producer of the Year – Nessim

It is hard to imagine a year in which Nessim is not in contention for this award. Even in a season where the biggest song, Wrong Places, was produced by Ghana’s Jae 5, the closest Ugandan producer to matching that level of dominance was Nessim.

Across 2025, his fingerprints were everywhere. From Spice Diana’s Nakkiriza to Sheebah’s Wesibade and Somebody, Dax Vibez’s At My Door, Tabbu, Good Idea and Kataleya, to Kataleya and Kandle’s Totta, Gundeeze and Salongo, Nessim seemed to churn out hits almost at will.

What set him apart was not just volume, but consistency. His productions were polished, radio friendly and culturally in tune, helping artists define their sound while maintaining his unmistakable signature.

Bangar Boi also put up a strong showing through his work at Swangz Avenue, shaping some of the most refined commercial records of the year. Ultimately, however, Nessim’s output, versatility and hit making consistency gave him the edge.

Album of the Year – Break the Chains

In 2025, many Ugandan artists released full length projects, the competition for Album of the Year was unusually strong. Joshua Baraka’s Juvie would have been a leading contender, but its late release means it still has time to fully settle with listeners. That narrowed the field to Lydia Jazmine’s One and Only, B2C’s Love in Kampala, David Lutalo’s In the Name of David and Bebe Cool’s heavily marketed Break the Chains.

While Break the Chains did not produce the kind of breakout hits many expected, it achieved something arguably more difficult. It dominated conversation. Bebe Cool did not simply release an album; he built a moment around it. Through branding, promotion and sheer presence, Break the Chains became a reference point against which other albums released during the year were measured.

The project’s impact extended beyond individual songs, positioning the album itself as an event and a statement of intent. In a year where attention was fragmented and projects often came and went quietly, Break the Chains stood out for shaping the narrative of the album as a cultural product. That influence, more than chart positions alone, secured its place as Album of the Year.

Song of the Year – Wrong Places

Beyond its pristine sound, Wrong Places resonated because of timing and authenticity. It spoke directly to a generation navigating love, ambition and disappointment in an era defined by emotional honesty. The song travelled organically, finding its audience through feeling rather than algorithms.

Musically, it struck a balance between vulnerability and restraint. Its clean, warm production allowed the emotion in the vocals to take centre stage, giving it replay value and longevity.

Competition was fierce. See You Tonight carried heavy emotional weight, Kabba stood out for cultural resonance, while Ekyange, Che Che and Good Idea each dominated their own moments. What ultimately set Wrong Places apart was its staying power.

Musical Comeback – Kataleya and Kandle

Two years ago, Kataleya and Kandle’s career appeared to have hit a dead end following a highly publicised fallout with their former management, Theron Music. They lost control of their catalogue, their YouTube channel and the infrastructure that had powered their rise. Many wrote them off.

Against the odds, the duo rebuilt from scratch. Their return was deliberate rather than desperate, marked by sharper songwriting and renewed focus. Song by song, they reclaimed relevance, proving that resilience and talent can outweigh even the most damaging setbacks.

Their journey from near disappearance to renewed relevance makes them the clear winners of the Musical Comeback category.

Global recognition Award – Joshua Baraka

In 2025, Ugandan artists showed unprecedented hunger to test their sound beyond borders. From Bebe Cool’s regional push with Break the Chains to David Lutalo’s internationally minded In the Name of David, ambition defined the year. Lydia Jazmine took One and Only to Nairobi, while Eddy Kenzo earned another Grammy nomination for Hope and Love.

Even in that competitive field, Joshua Baraka stood apart. He did not merely attempt international reach. He sustained it. Through consistent touring, strategic collaborations and strong audience growth abroad, he demonstrated a rare ability to translate local authenticity into global relevance.

His AFCON performance placed him on one of the continent’s most watched stages, affirming his role as a cultural ambassador. In a year when many artists knocked on international doors, Joshua Baraka walked through them, earning the International Representation Award.

 

Female Artiste of the Year – Ava Peace

This category sparked some of the most intense debate, with Ava Peace, Karole Kasita, Sheebah and Tracey Melon all mounting compelling cases through strong releases, visibility and impact across the year.

Ava Peace emerged as the defining female artiste of 2025 through consistency, momentum and growth. She did not rely on one breakout moment, instead building a steady run of songs that dominated playlists, social media trends and club rotations. Her music enjoyed organic traction, translating into impressive numbers and a widening fan base that cut across regions and age groups.

Beyond the charts, Ava Peace’s presence felt deliberate and calculated. She maintained relevance without overexposure, choosing collaborations and performances that elevated her brand while keeping the focus on the music. Her ability to stay sonically current while still sounding distinctly herself gave her an edge in a year crowded with releases.

Karole Kasita delivered undeniable energy and performance power. Sheebah continued to assert her superstar status with high profile moments, while Tracey Melon impressed with freshness and cultural resonance. Yet Ava Peace’s year stood out for its balance of strong music, sustained visibility and a clear upward trajectory.

In a tightly contested field, Ava Peace’s consistency and impact ultimately tipped the scale, earning her the Female Artiste of the Year title.

Male Artiste of the Year – Joshua Baraka and Elijah Kitaka (Tie)

For the second year running, Joshua Baraka and Elijah Kitaka stood head and shoulders above their peers, emerging as the most consistent and influential male artistes of 2025. King Saha and Dax Vibez offered strong competition throughout the year, but these two defined the pace.

Elijah Kitaka maintained a firm grip on the local scene, dominating radio playlists, live performances and audience engagement. His music resonated deeply at home, with a steady run of hits that kept him relevant across different listener demographics. Kitaka’s strength lay in his cultural connection and lyrical authenticity, making him one of the most dependable voices on Uganda’s mainstream music landscape.

Joshua Baraka, on the other hand, expanded the conversation beyond Uganda’s borders. While remaining a dominant force locally, he extended his reach internationally through high profile collaborations, cross border performances and strategic releases. Where his peers scored local hits, Baraka matched them and, in some cases, outpaced them by positioning Ugandan music on global platforms. His collaboration with Bebe Cool on Break the Chains and the international traction of Cheque underscored his versatility and global appeal.

What ultimately set Baraka apart was the release of a full-length album, a rare feat among his contemporaries in 2025. The project charted in 13 countries and was supported by a sold-out European tour, a milestone that signalled a new level of international acceptance for a Ugandan male artiste.

In the end, separating the two proved impossible. Elijah Kitaka owned the home front with unmatched consistency, while Joshua Baraka carried Uganda’s sound confidently onto the international stage. Their parallel but equally powerful journeys defined the year, making a shared honour the only fair outcome.

Artiste of the Year – Joshua Baraka

This is our biggest accolade, and it goes far beyond hit songs. It recognises consistency, growth, work ethic and overall impact throughout the year.

The shortlist featured Tracey Melon, Ava Peace, Elijah Kitaka, Joshua Baraka and Dax Vibez, artists whose combined top songs amassed over two million views on YouTube alone. After careful consideration, Joshua Baraka for a second time in a row takes it.

Joshua Baraka did things Ugandan artists experience as eclipses throughout their careers. From meaningful performances across the globe to holding onto the continental and local top ten for nearly five months, Joshua taught us that Africa can genuinely dance to a song from Uganda.

He headlined Blankets and Wine in Nairobi, a show where Tems was also a performer. He toured Europe, headlined a show in Tanzania and two in Rwanda, and recently appeared alongside Jamaican artiste Shenseea. He performed at the AFCON fan zone show in Morocco and, along the way, became Uganda’s most streamed artist on Spotify with 1.3 million monthly listeners. His collaboration with Gyakie, No Bad Vibes, was streamed 143 million times on Spotify.

He took Africa by storm with Wrong Places, inspiring TikTok challenges from South Africa, Rwanda, Kenya and Tanzania. Premier League players started posting the song. Just when you thought that was all, he dropped Morocco. Soon after, Rio Ferdinand, the former Manchester United defender, was posting about it. In seven months, Joshua released two major African songs and followed that with Juvie, an album that topped Apple Music charts in Uganda, Kenya, Tanzania and Rwanda, while charting in 13 countries overall.

This year, Joshua Baraka did things we have not seen Ugandan artists do at the scale he did them in just one year.

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