Cindy Sanyu, one of Uganda’s most celebrated dancehall and vocal artists, recently took aim at the Warafiki Girls, a trio signed under Fenon Records, during an interview on a local radio station. Known for her unfiltered opinions and bold personality, Cindy didn’t mince words when addressing the music and image of the young girl group.
In her criticism, Cindy stated that if she were the manager of the Warafiki Girls, she would “scrap their music and throw it in the dustbin,” claiming that their sound was outdated and failed to resonate with today’s audience. According to Cindy, their music appeals primarily to listeners from the mid-2000s, around the 2006-2008 era, which she feels is no longer relevant in Uganda’s fast-evolving music scene.
One of the core points Cindy emphasized was the Warafiki Girls’ branding, which she believes is stuck in the past. “If you dress like Blu3, you will appeal to the audience of 2008 and 2006,” she said, referencing the popular all-female Ugandan music group Blu3. Cindy pointed out that the Warafiki Girls’ fashion choices, which seem to mimic the style of Blu*3, are no longer fashionable or appealing to the current generation of music listeners. She stressed the importance of staying current with trends in fashion and branding in order to maintain relevance in the competitive music industry.
To provide an alternative direction for the Warafiki Girls, Cindy pointed to contemporary artists who are making waves with their music and branding, namely Ava Peace and Winnie Wa Mummy. Cindy encouraged the Warafiki Girls to take inspiration from these artists, who she believes are more in tune with the evolving tastes of the Ugandan music scene. “Young artists these days have a certain way they’re dressing,” she explained, suggesting that the Warafiki Girls should adapt to modern trends to ensure they remain competitive and appealing to younger audiences.
Cindy’s comments have stirred debate among fans and critics alike, with some agreeing that the Warafiki Girls’ image and music need a revamp, while others feel that their style should be embraced as a unique part of their identity.
Cindy Sanyu’s critique highlights a larger issue within the Ugandan music industry: the need for reinvention and adaptation. As the music scene continues to evolve, artists must find ways to stay relevant while embracing change in branding, fashion, and sound. Cindy’s comments serve as a reminder that even established artists like herself must stay ahead of the curve, or risk being left behind in an industry that is driven by innovation and youth culture.