By Dennis Asiimwe
In hindsight, this kid was absurdly talented.
He dropped off the scene so suddenly, there was never a genuine postmortem about his music career.
But Bwekiri was an example of his wonderfully eclectic style, which was hugely effective. It meant that there simply was never anyone like him out there.
It is hard to tell whether he is singing or rapping on the song, or a little bit of both – he also does the girl bits on the song, and his falsetto doesn’t bother too hard to hide him.
It was probably the silliest song of its time, which was about 2010. But he almost always seemed to make those songs work.
Faisal Sseguya (the name you will find on his National ID) never really recovered from an incident involving the death of a one Thaddeus, a Rastafarian, who died two years after Rabadaba was arrested over allegedly stabbing him in about 2011.
Rabadaba was another of those larger-than-life artistes whose charisma was as important as his ‘musical ability’.
In today’s entertainment world, we would probably refer to him as ‘a brand’. His witticisms were invaluable to his music, and his music was littered with them, making his material more tongue-in-cheek than anyone else’s.
And that irreverent approach to his music was probably what really helped him stand out. It was certainly that out-of-the-box thinking that gave us hits like Bwekiri. You do have to wonder what might have been, if he had kept on singing.
