Moses Matovu, the legendary singer, saxophonist and bandleader who helped shape Uganda’s live music industry for more than five decades, has died aged 77.
Known to generations of music lovers as Papa Moi, Matovu died at Kibuli Hospital on September 24, 2026, after he was attacked by unidentified assailants at Kibuli Market Zone B in Makindye Division, Kampala.
Kampala Metropolitan Police spokesperson Rachael Kawala said Kabalagala Police had registered a case of suspected murder. Investigators visited the scene as they began efforts to establish what happened and identify those responsible.
At the time of publication, Police had not disclosed the motive for the attack, the number of assailants or the weapon used.
But beyond the circumstances of his death, Matovu leaves behind one of the longest and most influential careers in Uganda’s music history.
For more than 50 years, he was the face of Afrigo Band, helping the group survive political upheaval, changing musical tastes and the departure or death of generations of musicians.
Matovu was born in Kawempe on June 19, 1949, to Abdallah Bukenya and Solome Nakitto.
After his parents separated, he moved with his mother to Mengo, where he spent much of his childhood.
His connection with music started remarkably early. At just four years old, he joined the Namirembe Cathedral choir, beginning a journey that would eventually make him one of Uganda’s best-known musicians.
He attended Namirembe Primary School before continuing his education at Kibuli Secondary School and later Pillai’s Secondary School.
His education was disrupted by the political crisis of 1966 between the central government and the Buganda Kingdom. Matovu had been studying on a Buganda government scholarship, but the abolition of traditional institutions affected the support he depended on.
Before music became his full-time career, however, Matovu had another passion — football.
He played for several clubs, including Nakivubo Boys, Lint Marketing Board, Police FC, Express FC and Fiat FC.
Football remained a serious part of his life until 1972, when he decided to leave competitive football and concentrate on music.
That decision would ultimately change the course of Ugandan music.
Matovu entered professional music in 1967 as a vocalist with Thunderbirds Band.
A year later, he joined the Police Band, where he gained valuable experience with brass instruments. In 1969, he moved to Cranes Band, further developing his skills as a singer, composer and instrumentalist.
He became particularly associated with the saxophone and flute.
When disagreements later led to the break-up of Cranes Band, Matovu and several of his colleagues went on to establish the group that would become Afrigo Band.
Some accounts trace Afrigo’s beginnings to 1974, but the band formally emerged in 1975 and later recognised August 31, 1975, as its founding date.
The name Afrigo was derived from the phrase “Africa go forward” or “Africa go in music”.
The band began performing at Bat Valley Bar and Restaurant in Kampala before gradually building a following that would eventually stretch far beyond Uganda.
Among its founding members were Matovu, Charles Ssekyanzi, Jeff Sewava, Paddy Nsubuga, Paulo Serumagga, Fred Luyombya, Anthony Kyeyune and Geoffrey Kizito.
Afrigo’s history is closely tied to Matovu’s own story.
The band operated through some of Uganda’s most difficult political periods, including the years of Idi Amin’s government. It also endured insecurity, lost equipment, changing audiences and the constant movement of musicians.
Through it all, Matovu remained at the centre of the group.
Afrigo developed a distinctive sound that brought together Congolese rumba, jazz and funk with Ugandan rhythms. Although Luganda was its main language, the band also recorded songs in other Ugandan languages and Kiswahili.
Its music reflected ordinary life, with songs dealing with love, marriage, poverty and everyday experiences.
Among Afrigo’s best-known songs are Afrigo Batuuse, Speed, Nantongo, Jim, Obangaina, Rose Guma, Maria, Amazzi Genyama, Mp’Eddembe, Nnemeddwa and Olumbe Lw’obwavu.
Matovu was also a prolific composer. His compositions included Nantongo, Silina Anantwaala, Teri Mubi, Emiziro, Genda Osome and Afrigo Batuuse.
He had recorded his first song, Jimmy Saasira, in 1970, followed by Emiziro in 1971.
Matovu’s contribution to Afrigo went beyond singing and playing instruments.
He became a mentor to generations of musicians who passed through the band.
Over the years, Afrigo became a platform for some of Uganda’s most respected performers, including Joanita Kawalya, Racheal Magoola, Herman Ssewanyana, Frank Mbalire, Rashid Musoke, Godfrey Mwambala, Tony Sengo, Tony Ssenkebejje, Fred Kigozi and Sammy Kasule.
Later generations included Joe Tabula, Peter Bazanye, Edmond Ganja, Charles Busuulwa, Daniel Kaggwa, Isaac Zzimbe, Jacinta Wamboga, Sarah Namiyonga and Aminye Rhoose, among others.
As established musicians left or died, Matovu repeatedly brought in younger performers and helped them develop.
His approach was centred on the belief that Afrigo had to be bigger than any one musician.
Discipline, rehearsal and live instrumentation remained central to the band’s identity at a time when Uganda’s music industry was increasingly shifting towards newer production styles.
Afrigo celebrated its 50th anniversary in 2025, an achievement that placed the band among Uganda’s longest-running musical acts.
By then, the group had released more than 20 albums and more than 200 songs and had performed for audiences in Uganda, Europe and the United States.
For Matovu, retirement was never an easy option.
As long as he could sing, compose and play his instruments, he continued performing and working with the band.
He also believed Afrigo could survive its founders if it continued to recruit and nurture young musicians.
That philosophy helped turn Afrigo from a band formed in the 1970s into an institution that remained relevant across generations.
Moses Matovu’s journey took him from a childhood choir in Namirembe, through competitive football, to the Police and Cranes bands, and eventually to the creation of one of Uganda’s most enduring musical institutions.
He was a singer, saxophonist, composer, bandleader and mentor, but perhaps his most lasting achievement was keeping Afrigo together for half a century.
