ArtistDirect News
DOADOA LIVE Pushes Womens Music Careers Forward in Uganda
In July 2026 the Bayimba Foundation, together with Live Traces Producing and Africalia, launched DOADOA LIVE inside Onomo Hotel Kampala. The new series of live showcases is designed to give Ugandan women artists a stage on which they can survive, grow, tour and ultimately thrive in an industry where women make up more than 55 % of the creative workforce yet still face short careers and financial barriers.
The initiative directly addresses the systemic inequalities highlighted by the International Centre for Research on Women (ICRW) project Behind the Scenes. That study presented a set of recommendations for seven African countries to close gender gaps in creative sectors. DOADOA LIVE translates those recommendations into concrete support for female‑led musicians, producers and other creative professionals.
Between July and September 2026, five showcases were staged at Onomo. Each event blended fashion runways, DJs and an evening lineup of women artists performing original material. The series also hosted masterclasses for student designers and models at the University of Kisubi Inter‑University Challenge, engaging 100 young people in professional development.
Vini Mercy, a rising artist who mixes music, spoken word and cinematography, explained the initiative’s impact: “I’m constantly looking out for what those before me have done, and most or all of them are male,” she said. “We have to create our own stages and opportunities so that other people can jump on board.” Her short film Some Ma’di Girl from Kampala illustrates the cultural bridge the project aims to build.
Uncle Runo, head of Runo Concepts, highlighted a blind spot in Uganda’s music ecosystem. “Music managers still have to figure out the financial side largely on their own,” he said. “The gap is very clear: most programs are aimed at artists or creative businesses generally, rather than the music manager as a business professional.” He called for treating management as an enterprise, teaching contract drafting, cash‑flow management, sponsorship negotiation and royalty and tax knowledge.
CMH Live, the production arm of the CMH Academy, described the series as a “rare opportunity to implement a fully integrated 360‑degree artist development ecosystem.” The team noted that the showcases have connected artists to markets, built visibility and created strategic contacts. Headline acts such as Rachel Magoola shared the stage with emerging women artists, fostering intergenerational collaboration.
The initiative has faced challenges, most notably a shortage of women instrumentalists. The team admitted that “jobbing male musicians dominate the ecosystem, resulting in a limited pool of women artists to form full bands around headline acts—even on a women‑focused project such as DOADOA Live.” Despite this, momentum is growing. The shows are already outgrowing their current venue, prompting exploration of new partnerships, including a recent collaboration with the Kampala Literature Festival.
A testimonial from performer Akisa underscored the personal impact of the platform. “I love the opportunity you gave me to get my own band and create my own team,” he said. “Giving me a rehearsal room and some refreshments was so heartwarming—we rarely get such kindness from event organizers.” He added that the event helped him build a Kampala fan base and that the Miss Uganda performance was a significant experience.
DOADOA LIVE is a Bayimba Foundation initiative that aims to shift the narrative from talent to business sustainability. By building long‑lasting relationships with creatives, the program seeks to maximize networking, resources, advice and mentorship, laying groundwork for a more inclusive and economically vibrant Ugandan music industry.
The series continues to expand, with the Bayimba Foundation and partners planning additional showcases and outreach activities. As the initiative gains traction, it is expected to influence policy discussions on gender equity in Uganda’s creative sectors and serve as a model for similar programs across East Africa.
The initiative directly addresses the systemic inequalities highlighted by the International Centre for Research on Women (ICRW) project Behind the Scenes. That study presented a set of recommendations for seven African countries to close gender gaps in creative sectors. DOADOA LIVE translates those recommendations into concrete support for female‑led musicians, producers and other creative professionals.
Between July and September 2026, five showcases were staged at Onomo. Each event blended fashion runways, DJs and an evening lineup of women artists performing original material. The series also hosted masterclasses for student designers and models at the University of Kisubi Inter‑University Challenge, engaging 100 young people in professional development.
Vini Mercy, a rising artist who mixes music, spoken word and cinematography, explained the initiative’s impact: “I’m constantly looking out for what those before me have done, and most or all of them are male,” she said. “We have to create our own stages and opportunities so that other people can jump on board.” Her short film Some Ma’di Girl from Kampala illustrates the cultural bridge the project aims to build.
Uncle Runo, head of Runo Concepts, highlighted a blind spot in Uganda’s music ecosystem. “Music managers still have to figure out the financial side largely on their own,” he said. “The gap is very clear: most programs are aimed at artists or creative businesses generally, rather than the music manager as a business professional.” He called for treating management as an enterprise, teaching contract drafting, cash‑flow management, sponsorship negotiation and royalty and tax knowledge.
CMH Live, the production arm of the CMH Academy, described the series as a “rare opportunity to implement a fully integrated 360‑degree artist development ecosystem.” The team noted that the showcases have connected artists to markets, built visibility and created strategic contacts. Headline acts such as Rachel Magoola shared the stage with emerging women artists, fostering intergenerational collaboration.
The initiative has faced challenges, most notably a shortage of women instrumentalists. The team admitted that “jobbing male musicians dominate the ecosystem, resulting in a limited pool of women artists to form full bands around headline acts—even on a women‑focused project such as DOADOA Live.” Despite this, momentum is growing. The shows are already outgrowing their current venue, prompting exploration of new partnerships, including a recent collaboration with the Kampala Literature Festival.
A testimonial from performer Akisa underscored the personal impact of the platform. “I love the opportunity you gave me to get my own band and create my own team,” he said. “Giving me a rehearsal room and some refreshments was so heartwarming—we rarely get such kindness from event organizers.” He added that the event helped him build a Kampala fan base and that the Miss Uganda performance was a significant experience.
DOADOA LIVE is a Bayimba Foundation initiative that aims to shift the narrative from talent to business sustainability. By building long‑lasting relationships with creatives, the program seeks to maximize networking, resources, advice and mentorship, laying groundwork for a more inclusive and economically vibrant Ugandan music industry.
The series continues to expand, with the Bayimba Foundation and partners planning additional showcases and outreach activities. As the initiative gains traction, it is expected to influence policy discussions on gender equity in Uganda’s creative sectors and serve as a model for similar programs across East Africa.