Diamond Platnumz's Massive Uganda Pay Sparks Local Discontent and Deeper Industry Questions
TANZANIAN SENSATION: Diamond, whose net worth is estimated at $43 million, has earned his place as one of Africa’s most bankable artists. (PHOTO: Internet I GRAPHIC: BizInsights Africa/ Kezio-Musoke)
The recent uproar in Uganda’s music circles over Tanzanian star Diamond Platnumz’s reported UGX 750 million (about $200,000) payout for a performance in Ntungamo has sparked more than just social media chatter. It’s reignited a critical discussion on how value is assigned in East Africa’s creative economy and whether Uganda’s own talent is getting the short end of the deal.
What’s fueling the backlash is the massive pay gap. While Diamond headlined the coffee festival in western Uganda, local stars like Eddy Kenzo and Bebe Cool were reportedly offered just UGX 12 million (roughly $3,300) each. Other Ugandan acts received even less, according to insider sources. “It’s outright disrespect,” said Bebe Cool during a post-event interview. “We’ve carried this industry on our backs for decades. The very platforms that book international stars today were built by our sweat.”
Diamond, whose net worth is estimated at $43 million, has earned his place as one of Africa’s most bankable artists. He’s not only a hitmaker, he’s a savvy businessman. With endorsement deals from brands like Pepsi, Coral Paints, Nice One, and ambassadorial contracts with Airtel Tanzania and Serengeti Beer. His income streams go far beyond the stage. He also owns upscale real estate, a fleet of luxury cars, and Wasafi Records, the label behind several East African stars.
Still, the reality is more sobering for Uganda's top-tier musicians. Despite global acclaim, artists like Eddy Kenzo, Uganda’s first Grammy nominee and Bebe Cool, with a career spanning over 20 years, are still underpaid and under-recognised at home. Promoters say that performance fees for Uganda’s best rarely exceed UGX 15–30 million (up to $8,250) per event.
“This isn’t about jealousy,” noted DJ Bush Baby, a seasoned voice in Uganda’s music scene. “It’s about the economics. If we keep ignoring our own talent and overhyping outsiders, we risk stunting the entire industry’s growth.” From the organisers’ point of view, booking Diamond is a strategic move. He brings regional star power, millions of YouTube subscribers (over 7 million), and viral music videos that consistently hit 100 million+ views. He dominates digital platforms like Spotify and Apple Music, making him a magnet for big sponsorships.
But critics say this kind of star-studded spending comes at a cost, especially to the local ecosystem. According to the 2024 Creative Industry Report, Uganda’s music sector pumps UGX 240 billion (about $65 million) into the national economy every year, creating jobs across production, media, event planning, and marketing. “Diamond isn’t the problem,” said one local promoter who asked to remain anonymous. “But to ignore our own artists when they have put Uganda on the global map? That’s short-sighted.”
Even with their accolades, Uganda’s musicians often play second fiddle in their own country. Eddy Kenzo continues to tour internationally and recently made headlines with his historic Grammy nomination. Meanwhile, Bebe Cool dropped his much-anticipated album, Break The Chain, adding to a long line of career milestones. Yet when concert budgets are drawn, international acts like Diamond walk away with the lion’s share.
“We’re not against Diamond being paid well,” said Kenzo. “But don’t downplay what we’ve built. We’ve carried the flag for Uganda—give us the respect we deserve.” The concern isn’t just about money. It’s about morale, equity, and the long-term sustainability of Uganda’s music industry. Continuously sidelining local talent could stifle the next generation of artists and widen the existing gaps in support and recognition.
This moment presents an opportunity for the industry to rethink its approach. Solutions could include: Boosting local artist branding and digital strategy, empowering industry associations to negotiate fair rates and structuring events to celebrate both global and homegrown acts
Without such reforms, events like the Ntungamo concert will continue to reveal deep structural imbalances that need urgent attention. Uganda’s creative potential is immense, but it needs the right ecosystem to thrive.
Diamond’s headline-making fee should be more than just a footnote in event budgets. It should be a wake-up call. A reminder that building a robust, competitive entertainment industry means investing not just in spectacle, but in sustainability.
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