Musician Lil Pazo has urged fellow artists, critics and members of the public to respect Jose Chameleone, arguing that the veteran singer’s influence and reputation in Uganda’s music industry should not be dismissed because of political differences or ongoing disagreements.
Pazo’s comments come amid criticism from some TikTok bloggers who have questioned Chameleone’s age and argued that he should have established a more substantial legacy by this stage of his career. Chameleone has also made public outbursts in response to some of the criticism.
But Pazo believes the singer’s contribution to the industry deserves recognition, regardless of the debates surrounding him.
Lil Pazo Recalls Trip to Sudan
Reflecting on his personal experiences with Chameleone, Pazo recalled travelling to Sudan alongside the singer and Weasel, the former Goodlyfe duo member who performed with the late Mowzey Radio.
The trip, he said, gave him a clearer understanding of Chameleone’s stature and the attention he commanded.
“I moved with Chameleone and Weasel, and Weasel sang well with Radio under Goodlyfe, but we went to Sudan with Chameleone, and that’s when I felt how strong he is. I can never disrespect him or even be in conversations that belittle him,” Pazo said.
The experience appears to have shaped Pazo’s view of Chameleone’s standing beyond his music releases, particularly the recognition he attracts when travelling and interacting with people.
Pazo also credited Chameleone with giving him an opportunity to travel by air for the first time.
“He was the first person to put me on a plane. We reached at the airport and Weasel was there, and I knew he had motion, but when Chameleone was around, we were nothing,” he added.
Chameleone’s Name Still Carries Weight, Pazo Says
Pazo argued that Chameleone’s relevance should not be judged exclusively by how frequently he releases new songs.
In his view, the singer has built a name strong enough to attract attention on its own, reflecting years of recognition and influence within the music industry.
His remarks offer a defence of Chameleone at a time when some online commentators are questioning the veteran musician’s career trajectory and public conduct.
The debate also highlights differing views about how established musicians should be assessed: through current releases and activity, or through their broader contributions and the reputation they have built over time.
Pazo’s position is that Chameleone’s legacy warrants respect even among people who disagree with his politics or criticise his recent actions.
For Pazo, the trip to Sudan remains a personal example of the influence he believes Chameleone commands. His message to critics is that disagreements should not erase the veteran singer’s contribution to Ugandan music.