Eddy Kenzo fires back at critics mocking his Grammy nod and why he’s not signed to any major record label

• Kenzo says critics mocking his Grammy nod “don’t even know 1%” of the nominated songs.

• Despite low streaming numbers, he insists Grammys aren’t solely based on views or popularity.

• He refuses major record label deals, calling their contracts exploitative and harmful to artists’ long-term futures.

Ugandan music star and Big Talent boss Eddy Kenzo has spoken out strongly against those mocking his recent 2026 Grammy Award nomination. The singer was shortlisted in the Best African Music Performance category—yet his recognition has sparked disbelief among many Ugandans, especially because his nominated track Hope and Love has far fewer streams compared to other contenders.

Despite heavy criticism, Kenzo insists that most of his detractors are simply uninformed. “I am very sure that most of the Ugandans criticizing this song don’t even know 1% of the songs nominated in this category,” he said.

Compared to its competitors—which have already clocked millions of streams—Hope and Love stands at just over 82,000 views, leaving many wondering how it secured such a prestigious nomination. But Kenzo maintains that numbers alone do not determine Grammy recognition.

During an interview on NBS After 5, Kenzo was pressed on why, despite his international visibility, he has never signed with a major global record label like Sony, Warner Brothers, or Universal Music—yet most of the artists he competes against are backed by these giants.

His response was firm and unapologetic.
“Most of these artists signed to those record labels are like slaves. They are literally owned by these companies,” Kenzo stated.

He revealed that he has previously been offered deals from Sony Music, Warner Brothers, Disney, and others, but turned them down because the contracts demanded too much control over his art, finances, and future.

Kenzo argued that record labels often give artists large advances that are later recovered with high interest—sometimes for decades. Selling his catalogue for quick money, he said, would be a betrayal to himself and his children.

He further cited African stars who have allegedly signed restrictive contracts and later struggled, naming artists like Tekno, whom he claims suffered setbacks after certain deals.

For Kenzo, staying independent is not just a business choice but a form of creative and financial freedom. He believes everything major labels offer, he can still achieve on his own terms.