Throughout 2025, Talent Africa Group (TAG) steadily reinforced its position not only as one of Uganda’s leading events companies, but as a critical enabler of local creative growth. In a year marked by the resurgence of live entertainment, TAG’s work stood out for its intentional focus on creating platforms that elevate emerging talent, broaden exposure, and connect Ugandan creatives to wider, more diverse audiences.
Rather than isolating new artists into peripheral roles, TAG embedded emerging talent into the heart of its programming. This approach was evident across festivals, concerts, lifestyle experiences and corporate engagements, where fresh voices consistently shared stages with established performers under the same professional production standards. In doing so, TAG demonstrated a clear philosophy: opportunity should not be occasional, but structural.
At the forefront of this commitment was the Nyege Nyege Festival, a cultural cornerstone that has evolved into one of East Africa’s most influential creative platforms. While internationally recognised for its bold programming, the festival has also become a crucial incubator for Ugandan talent. In 2025, local artists were fully integrated into the festival’s core lineup, performing before expansive audiences and industry stakeholders drawn from across the region and beyond.
For many creatives, Nyege Nyege represented more than a performance slot. It offered validation, exposure and the confidence that comes with being positioned on a globally respected stage. The festival’s ability to merge underground creativity with international visibility underscored TAG’s role in facilitating organic artistic growth rather than short-term spectacle.
TAG’s talent-forward strategy extended beyond music. In partnership with ValRich Arts, the company delivered the inaugural Uganda Dance Nights, introducing a large-scale, gala-style Latin and ballroom dance event to Uganda’s entertainment calendar. The production brought together international dancers, professional coaches and leading Ugandan performers in a showcase that celebrated rhythm, technique and cultural exchange.
Uganda Dance Nights marked a significant expansion of the country’s live entertainment offering, affirming TAG’s willingness to invest in disciplines that sit outside the mainstream. By doing so, the company provided dancers—many of whom operate in niche or underrepresented spaces—with a credible platform that matched global standards of presentation and professionalism.
Complementing these cultural showcases was TAG’s partnership at AUMEX 2025 (Amplify Uganda Music Expo), organised in partnership with Guinness Smooth. Designed as both an industry forum and performance platform, AUMEX created an environment where emerging artists could engage directly with audiences and decision-makers shaping the music industry. Rising acts such as Son of Aboda, Vini Mercy, Tungi, Echoled, Expect Xhavi and DJ City Girl were given space to perform and participate in conversations about sustainability, creativity and growth within Uganda’s music ecosystem.
Young artistes would later in the day share stage with South African rapper Nasty C who headlined the Ivyson Tour, in Kampala, Uganda, organized by Talent Africa Group as part of the Aumex Conference.
Beyond these flagship platforms, TAG’s commitment to emerging talent was visible across its entire events calendar. At lifestyle experiences such as the Jameson Hangout, young urban artists were intentionally programmed into line-ups, giving them access to audiences that might otherwise remain out of reach. The same approach carried through to major concerts including Cindy Sanyu’s concert, Into the B’raka Land, and Joshua Baraka’s maiden concert, all of which featured fresh talent alongside established names.
This consistency ensured that emerging artists were not confined to “opening acts” in name only, but were afforded real visibility within professionally curated environments. As one industry observer noted at a TAG event, the difference lay in intent: emerging talent was not added as an afterthought, but positioned as part of the experience.
TAG also played a deliberate role in bridging the divide between talent traditionally viewed as “local” and urban, premium audiences. This was particularly evident in the elevation of Ssuuna Ben, a celebrated DJ known for his distinctive “Binyanyanyanya” style of music mixing. Long admired within grassroots spaces, Ssuuna Ben was introduced to high-end urban platforms through TAG-organised events without being required to alter his identity or sound.
His performance at the TAG-organised POATE Event 2025 at Speke Resort, Munyonyo, marked a significant crossover moment, affirming that authenticity resonates when presented on the right stage. Later in the year, his appearance at Nyege Nyege Festival further cemented his place among diverse audiences, as he kept festival-goers energised into the early hours of the morning.
For many observers, this trajectory reflected TAG’s broader philosophy. Rather than reshaping talent to fit certain spaces, the company reshaped spaces to accommodate talent as it is—allowing artists to grow while remaining true to their roots.
TAG’s investment in talent development did not end on stage. Behind the scenes, the company’s production, technical and operations teams reflected the same commitment to growth and opportunity. A significant proportion of TAG’s workforce comprises young, enthusiastic professionals entrusted with meaningful responsibility across event delivery—from stage management and sound to logistics and coordination.
For regular attendees, this has become a visible hallmark of TAG productions. The energy, efficiency and adaptability of its teams speak to an organisational culture that values mentorship, trust and hands-on learning. By giving young professionals room to grow within high-pressure, real-world environments, TAG has quietly contributed to building a skilled workforce for Uganda’s live events industry.
