Kenny Mugarura, the chief executive of 1:55 AM Music, has opened up about the label’s shifting direction and its evolving relationships with some of Rwanda’s best-known rising stars. Mugarura detailed why several artists parted ways with the label and revealed plans to move away from 360 deals toward more focused recording agreements that could welcome rap and traditional Gakondo acts into the fold. From Rosskana to Kenny Sol, and now possibly Element, he laid out the context behind what appears to be a season of transition, in an interview Igihe. ALSO READ: I’m still part of the team - Element on rumored split from 1:55AM Kenny Sol Mugarura dismissed any notion of a falling-out with Kenny Sol. “We didn’t part ways because of a fight,” he said. “We honoured our end, he honored his. It’s a clean slate.” Still, there was a matter of perspective. “Looking at the investment, I would say we put in more than he did,” he added. Mugarura likened managing a label with multiple artists to parenting in a large family, where comparisons naturally arise. “Everyone wants to be like the other. My brother got new shoes, I want them too,” he said. Over time, he explained, things began to shift from business into something more emotional. “There were moments where Kenny would say, ‘I went to a concert but Bruce Melodie didn’t go the same way I did,’” Mugarura recalled, alluding to differences in how artists were treated at events, possibly in terms of convoys or other logistics. But for the label head, it ultimately came down to numbers. “If one artist is doing 10 shows a year and making over Rwf300 million, it makes sense they’ll get a certain level of support. If you’re not there yet, you can’t expect the same. And that’s where I think the tension came in.” According to him, Kenny Sol and his team felt the best course of action was to part ways, and he respected that. “It’s his right to ask to be treated how he wants. But it’s also my right not to be dictated to, especially if the numbers don’t back it up,” Mugarura said. Still, he made it clear there is no bad blood. “Kenny Sol is a noble man. I told him our partnership doesn’t end here.” Ross Kana When asked whether Ross Kana’s departure mirrored that of Kenny Sol, Kenny Mugarura said the situations were quite different. “Ross Kana came in as an artist full of ambition,” Mugarura said. “He was hungry for success, incredibly talented, and his voice and songwriting stood out.” But over time, things changed—not due to fame, Mugarura clarified, but due to what he described as a shift in financial dynamics. “I began to feel like he had more resources than the label. That can change the energy,” he said. At 1:55 AM, music artistes typically collaborate with the team to plan their releases, including budgeting, setting dates, and aligning on strategy. With Ross Kana, that model began to break down. “At one point, we were planning a music video with a Rwf5 million budget, maybe Rwf1.5 million for audio, and a couple more for promotion across East Africa,” Mugarura explained. “Then he was asking for Rwf15 million just for the video. That didn’t add up for us.” According to Mugarura, the label works on a yearly release plan with a total promotional budget in mind, aiming to build an artist’s catalog and consistency rather than spending heavily on a single track. “You can’t sing one song for two hours,” he said, referring to how they prepare artists for live shows. “No one releases just one song anymore. These platforms reward consistency.” Still, he acknowledged that Ross Kana had the means to go independent. “He didn’t accept what we offered, and that’s his choice. What I didn’t like is how he left without a conversation, unlike Kenny Sol, who sat down with us before parting ways.” Mugarura said there were no hard feelings, only a lingering sense of disappointment about the lack of communication. Asked whether the label had heard back from Ross Kana after sending a letter requesting clarification on his exit, Mugarura said, “He hasn’t reached out. But wherever you are, Ross Kana, I believe in you. Keep focusing on your art—we’re all good.” Element Element’s case, according to him, is more layered than the others. Originally signed as a producer, Element had only one track, “Kashe,” under his belt when he joined the label. But as time went on, his ambitions shifted. “The more he stayed with us, the more he leaned into being an artist,” Mugarura said. “That was something he and Coach Gael liked.” One major turning point was the track “Fou de Toi.” Although initially produced by Element for Ross Kana, Gael eventually gave it to Element as a gesture of support, officially releasing it under his name. That moment marked Element’s pivot to performing, even though his contract remained tied to production. “We spent a lot on that song,” Mugarura said, “but he was never signed as an artist.” Efforts to formalize his status as a performer didn’t pan out, though the label continued supporting him, including investing Rwf15 million in his follow-up track “Milele.” Things became more complicated with “Tombe,” a recent release Element funded and launched independently after he and the label failed to agree on terms. According to Mugarura, Element had initially sought freedom and better working conditions after expressing dissatisfaction with his prior arrangement. The label offered a full studio setup and a 60-40 revenue split, with the label taking the larger share. Yet over two and a half years, Mugarura said the label never received its due. “We were supposed to receive 60 percent of what he earned,” Mugarura explained. “But in all that time, we’ve only seen about Rwf1.5 million from him, for more than 35 songs, both released and unreleased.” There were also disagreements over songs that Element began working on at other studios but completed at 1:55 AM. Mugarura said the team made it clear that any work finished using their equipment still fell under their ownership. Though legal discussions have begun, there’s still no resolution. “We’ve approached him twice with our legal team,” Mugarura said. “He hasn’t responded. I’d rather we sit down and sort this out between ourselves, the same way we began.” As things stand, Mugarura doesn’t see the contract being renewed when it expires in January. “I’ve even heard he doesn’t want to renew either, and we’re not tying him down,” he said. “But we invested heavily. The studio alone cost us $80,000 (Approx Rwf115.5 million). What we’ve received so far wouldn’t even cover rent.” Even so, Mugarura left the door slightly open. “If it comes to that, we can part ways. But who knows—tomorrow, I might say there’s no one quite like Element.” Mugarura added that the label has not heard from Element in more than three months. “We may not have been in touch for other reasons. Maybe he is unwell or something. But he has not been in the studio,” he said. “And according to the contract, he is expected to produce seven songs a month and work 40 hours a week.” When asked whether Element owes more than Rwf32 million, Mugarura confirmed that the estimate was accurate. “It is there, but we are waiting to hear from him. He may say it is less or more. That is what we think.” On the topic of payments for Bruce Melodie’s songs, Mugarura clarified that Element was compensated for those as well as for tracks by Ross Kana. “We used to deduct our percentage first. I am not upset that he charges us. What is sad is that we pay him, and he does not pay us.” He said the label is not looking to end things on a bitter note. “I do not want to leave bad air with our artists. I hope this interview reaches everyone, especially the group that advises them,” he said. “Especially Element. Let him know that understanding is more important than conflict. A label does not have fans. Fans belong to the artist. We who deal with contracts have laws. If we want to stay in conflict, it will only lead us to court. What we want is to talk.”
