Ugandan events MC Edwin Katamba, popularly known as MC Kats, has criticised singer King Saha over what he describes as repeated disrespect towards fellow musician Bebe Cool, warning that online popularity can be short-lived.
In an interview, Kats accused King Saha of taking their public dispute too far through social media posts, edited images depicting Bebe Cool in feminine clothing and freestyles in which the singer allegedly mocks his fellow artist.
Kats argued that the criticism crosses a line, particularly because Bebe Cool is also a father and deserves the same consideration King Saha would expect for himself.
“When Bebe Cool talks about his drug addiction, he starts playing victim claiming he is father. You are insulting Bebe Cool, who is also a father,” Kats said.
His comments place the focus on the increasingly personal nature of the exchanges between Ugandan musicians, where public disagreements can extend beyond music into online ridicule and attacks on personal identity.
But Kats’ warning to King Saha went beyond the dispute with Bebe Cool. He cautioned the singer against allowing internet attention and the excitement surrounding his current position in the industry to influence his judgment.
“Do not let the internet get to you because we have seen musicians at their prime,” Kats said.
He cited Jose Chameleone, the late Radio, Weasel and Alien Skin as examples of artists whose public profiles and past prominence, in his view, illustrate how quickly online attention can change. His remarks reflected his argument that musicians should not mistake a moment of intense public interest for permanent relevance.
Kats also took issue with King Saha’s song “Kimala/Akamwanyi,” which addresses concerns about coffee and the claim that the country’s wealth from the crop has been taken away from its people.
According to Kats, the song’s message does not reflect the experiences of coffee farmers he has encountered, some of whom he says have built substantial livelihoods from growing the crop.
“He is lying because people are planting their coffee and reaping big, just because they do not come out to shout on social media,” Kats said.
He added that he had visited Luweero, where he saw farms with more than 20 acres planted with coffee. He also claimed that some farmers were earning enough to afford expensive vehicles and substantial spending.
Kats’ remarks offer a personal counterpoint to the song’s message, although his account of the farmers he visited does not, on its own, establish the broader economic circumstances of Uganda’s coffee industry.
The comments leave King Saha facing criticism on two fronts: his treatment of Bebe Cool and the message behind his coffee-themed track. Kats’ central warning is that musicians should be mindful of how they use public attention, particularly when disagreements move from artistic rivalry into personal attacks.