The Swangz Avenue All Star Album is an ambitious showcase of the label’s talent, even if the title itself doesn’t win points for originality. The album features 16 tracks, each with its own character, and includes collaborations with artists like A-Pass and Kenya’s Bien, giving it both local and cross-border appeal. Benon Mugumbya, Swangz Avenue’s Head of Production, called the album a testament to quality production and a global vision for Ugandan artists. The reviewer, while skeptical of the grandiose language, recognizes the album as a smart way for Swangz to put the spotlight on its artists and showcase their collective talent.
The album’s strongest tracks, like “Mary Jane” and “God Ye Buddy,” stand out immediately, offering a mix of creativity, skill, and unique collaborations. “Mary Jane” is a burst of energy, with Azawi delivering a powerful hook alongside a reinvented Winnie Nwagi, who even tries her hand at rapping. Elijah Kitaka and Zagazillions also lend their voices, creating a dynamic song that makes an impact. “God Ye Buddy,” featuring gospel star Levixone, brings a surprising gospel flavor that adds depth and balance to the album. Levixone’s powerful vocals and melodic ad-libs enhance the track’s structure and make it a refreshing break from the more beat-heavy songs on the album.
Some tracks, however, don’t quite reach the same level. “Finally,” with Elijah Kitaka and Azawi, has a nice groove but doesn’t linger in the listener’s memory. “For Sure,” featuring Arrow Bow and Azawi, feels like filler, lacking the energy of other tracks. “I Know” has a reggae-inspired vibe but falls flat until A Pass’s cameo breathes life into it with his personality and charm. These dips don’t derail the album but do make it feel uneven at times. Still, for each of these songs, there’s a standout that restores the energy and direction of the project.
Tracks like “Red Flag” and “Amin Dada” show the album’s willingness to take risks. “Red Flag” is a bold, brass-heavy anthem with a rhumba groove where Vinka and Azawi celebrate female empowerment with confidence and flair. “Amin Dada” goes all in on Afrobeat vibes, an underrepresented sound on the album, and features Azawi, Vinka, and Elijah Kitaka. The album’s retro moments shine in songs like “Kikumi Kinana,” which sounds like something from an FM radio broadcast in the 1970s but somehow feels perfectly at home here. These tracks are great reminders of Swangz Avenue’s versatility and creative freedom.
In the end, the Swangz Avenue All Star Album is a solid and significant release for Uganda’s music scene. It’s a reminder that Azawi is a rare talent who elevates everything she touches, that Winnie Nwagi is much more versatile than people might realize, and that Swangz Avenue itself is capable of crafting an album that could set the tone for years to come. Despite its predictable title and a few filler tracks, the album exceeds expectations, surprising the reviewer with its diversity and quality. Swangz Avenue has laid down a new benchmark, proving that they have both the talent and the production chops to deliver a project that makes an impact on the local music industry.
