King Saha Boldly Disses Minister Haruna Kasolo Face-to-Face at Kazibwe Kapo Concert in Namasuba

In a dramatic escalation of one of Uganda’s most talked-about entertainment-political feuds, renowned musician King Saha (real name Mansoor Ssemanda) publicly confronted State Minister for Foreign Affairs Haruna Kasolo during a live performance at Hajji Kazibwe Kapo’s concert held at Front Page Hotel in Namasuba on Friday night, June 12, 2026.

Spotting the minister in the crowd alongside his wife, the singer seized the moment to perform lines from his 2025 diss track “Kasolo Mujje,” delivering the lyrics directly toward Kasolo.

Eyewitness accounts and circulating video clips show the minister shifting uncomfortably as the crowd reacted with a mix of cheers and tension.

The DJ reportedly cut the lights mid-performance, but the damage—or statement—had already been made.

This latest clash reignites a bitter rivalry that began in November 2025, when King Saha’s highly anticipated homecoming concert in Kyotera District—his birthplace—was abruptly canceled by police just before it was set to begin.

Authorities cited insufficient manpower for security during the election period, but Saha immediately pointed fingers at Minister Kasolo, accusing him of political sabotage.55ba6d

Saha, a vocal supporter of the National Unity Platform (NUP) and Bobi Wine, alleged that Kasolo— who represents Kyotera County—orchestrated the shutdown to suppress his influence among the youth in the area.

In fiery interviews, the artist questioned the minister’s motives: “What do you want me to do at my age? You have connived with the RDC and called the DPC to cancel my show… How can he chase me from my district of birth?”

He vowed to seek justice and even threatened to “camp in Kyotera” to derail Kasolo’s political ambitions.

In response, Minister Kasolo denied any involvement, stating he has no control over music events and that decisions rest with security agencies like the Inspector General of Police.

He dismissed the accusations as attempts to gain public sympathy and described the diss tracks as “free publicity.”

Undeterred, King Saha channeled his frustration into music. He released “Kasolo Mujje,” cleverly using “Kasolo” as a metaphor for a troublesome pest disrupting his grandparents’ harvest during hard times in Kyotera.

The song was widely interpreted as a direct jab at the minister. This was followed by “Nva Kyotera.”

The beef has since spilled into broader public discourse, blending entertainment, politics, and regional pride. Supporters of Saha praise his fearlessness and see the incident as an artist standing up against perceived elite interference.

Critics, however, argue that involving a minister’s family in a public diss is crossing a line, with some expressing sympathy for Kasolo’s wife being present during the confrontation.

Political Undercurrents and Industry Impact

The timing of the original cancellation—amid preparations for the 2026 general elections—added fuel to the fire.

Music industry observers note that such artist-politician clashes are not new in Uganda but rarely play out this publicly. Saha’s willingness to freestyle the diss live, eye-to-eye with the target, has amplified his street credibility among fans while drawing mixed reactions online.

Clips from the Namasuba concert have gone viral, sparking debates on freedom of expression, political influence over cultural events, and the personal cost of public feuds.

King Saha has built a reputation for high-energy performances and bold stances, including successful shows at Lugogo Cricket Oval.

This incident adds another layer to his narrative as a musician unafraid to challenge authority. Meanwhile, Minister Kasolo continues his governmental duties, maintaining that security protocols, not personal vendettas, dictated the 2025 cancellation.

Incidents like this highlight the intersection of music, politics, and local grievances. Will this feud escalate further, or will cooler heads prevail? For now, King Saha shows no signs of backing down, using his platform to demand what he calls justice.