Swangz Avenue Founder Challenges Narrative, Defends Label’s Artist-First Philosophy
December 3, 2025 — In a direct response to growing criticism on social media and television, Benon Mugumbya, the founder and director of Uganda’s prominent music label Swangz Avenue, has publicly dismissed allegations of exploitative practices within his company. Mugumbya asserts that his label operates on a fundamentally different principle: prioritizing the artist’s success over immediate business gain.
The Public Defense
Mugumbya addressed the allegations head-on in a recent interview, noting the prevalence of the criticism across platforms like TikTok and TV interviews.
“I see a lot of people… talking about exploitative record labels,” Mugumbya stated. While acknowledging that Swangz Avenue is, at its core, a business, he firmly distinguished its approach.
“I believe we are way different from any other record label,” Mugumbya said. “Much as it is a business, I believe that it prioritises the artist’s win more than the business side.”
This defense comes amid ongoing discussions among fans and observers about the careers of several high-profile artists under the Swangz Avenue banner, which currently includes stars like Vinka, Winnie Nwagi, Azawi, and Elijah Kitaka.
Case in Point: The Departure of Irene Ntale
The relationship between labels and artists has a notable chapter in Swangz Avenue’s history with the departure of singer Irene Ntale in 2017. At the time, Ntale expressed frustration with the label, though she did not publicize specific reasons for her exit.
Mugumbya has openly described Ntale’s departure as a deeply personal and professional hurt. He regarded her as “one of the most gifted artists” and believed they could have achieved greater success together. In a 2017 interview following her exit, Mugumbya explained that Ntale “felt that she wanted to control herself,” and the label respected her decision to leave.
He also emphasized the label’s contractual philosophy, noting that all artist contracts include an exit clause, allowing anyone to leave if they wish. Reflecting on her potential, Mugumbya stated, “I don’t see Irene failing musically. She is aggressive and she has enough knowledge about the music Industry.”
Current Roster and Fan Scrutiny
While Mugumbya champions an artist-first model, the career trajectories of current signees are sometimes the subject of public debate:
· Azawi: Some observers have questioned whether the label has fully capitalized on her potential, with debates surfacing online about her continental reach compared to initial expectations.
· Vinka: Recently, fans have raised questions about the label’s plans for the artist, specifically why she has not yet held a major solo concert despite her popularity. In response, Mugumbya stated that a concert “will come” but timing is crucial to ensure its success and quality.
The Business Behind the Music
In his past comments, Mugumbya has provided context for the label’s resilience and strategy. He has pointed out that music is not the main business at Swangz Avenue but is supported by other ventures like events and advertising production. This diversified model, he suggested, allows the label to operate without being solely dependent on music revenue, potentially giving artists more creative space.
The official Swangz Avenue website outlines its mission to “provide a platform for African artists to showcase their unique voices” and to work closely with them to develop their careers.
Analysis: A Persistent Industry Debate
Mugumbya’s public statement taps into a long-standing, global tension in the music industry between artistic development and commercial imperatives. His defense positions Swangz Avenue as a label seeking a different path within the Ugandan context.
· The defense rests on a philosophy of artist empowerment, flexible contracts, and a business buffer from other ventures.
· The scrutiny from fans and commentators focuses on tangible career milestones, market reach, and the handling of star artists’ departures.
As the conversation continues online, the measure of Swangz Avenue’s “artist-first” philosophy will likely be judged by the sustained success and satisfaction of its current roster and the legacy of those who have moved on.
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