At 25, Ugandan singer-songwriter Joshua Baraka finds himself in a rare position—one that many artistes consciously pursue, yet only truly grow into with time. Across East Africa’s fast-evolving music scene, fans, critics, and industry insiders have quietly begun to speak of him as the future, a flagbearer for a new generation of African sound rooted in soul, emotional honesty, and regional unity. Baraka does not announce this responsibility. He simply wears it. In a recent sit-down with The New Times, the singer reflected on his upbringing, his musical journey, and the unspoken expectations that now trail his name. Calm, grounded, and deeply reflective, he spoke less like a rising star carried by momentum and more like an artiste intent on protecting the very reason he began making music in the first place. ALSO READ: East African sounds take over Kigali as Joshua Baraka leads ‘Reset 2026’ From Bwaise to the big stage Joshua Baraka was born in 2000 and raised in Bwaise, a densely populated suburb in Kampala. He openly describes the place as “the ghetto”, shaped by struggle, resilience, and survival. Music, for him, was not initially a career choice but an escape. His earliest musical influence came from home. With a father who was a pastor and a mother who led the church choir, the singer grew up immersed in gospel harmonies and live instrumentation. By the age of six, he was already singing, unknowingly laying the foundation for a life in music. One of the most personal moments of his early days in music remains the first song he ever wrote and dedicated it to his mother. Tragically, she died before listening to it. That loss, though rarely dramatized by the singer, quietly informs the emotional honesty that has since become a hallmark of his songwriting. Before music took his heart and soul, Joshua Baraka dreamed of becoming a doctor. However, academic struggles forced a difficult central position, and he ultimately dropped out of school to pursue music professionally. It is a decision many would call risky, but one that proved defining. As a teenager, he sharpened his craft by playing piano in bars and restaurants around Kampala. Those intimate, often unforgiving spaces taught him discipline, performance, and survival. They also paid the bills. In 2021, he released his debut EP, “Baby Steps”, a modest but critically praised project that introduced Uganda to his soulful sound. Tracks like “Belinda” and “Tewekweka” hinted at an artiste who was not chasing trends but building a language of his own. Beyond vocals and songwriting, Joshua Baraka is a multi-instrumentalist and producer. On his project “Growing Pains”, he produced five of the seven tracks himself, an intentional move that pinned his desire for creative control. That independence paid off on a continental scale in 2023 with the release of “Nana”, the song that changed everything. “It was my breakthrough,” he said. “Even I didn’t expect it to go as far as it did.” A smooth, honest record about “sneaky linking,” the song filled a gap many didn’t know existed. East Africa embraced it. Africa followed. A remix featuring Joeboy, Bien, and King Promise sealed its impact, turning Baraka from a national name into a regional force. Rwanda, in particular, played a big role, he said. The love the song received there led to his first performance in Kigali in 2023, a moment he still credits as yet another major climb on his career. “I’m really thankful for the love I’ve got from the Rwandan people, from Nana until now,” he said. The quiet weight of being “the future” His profile has grown, so too has the narrative around him. Many have openly or subtly assigned him the role of carrying East African music forward. Does that come with pressure? “Not really,” he said. “I’m just doing what I love and what I do best.” For the singer, the only real pressure came after Nana, which sparked the pressure to grow, evolve, and to stay honest. He leans heavily on faith, family, and a close circle of friends to stay grounded. “I’m a firm believer in Jesus Christ,” he says. “I know the Lord has got me. His plan will sustain me.” Rather than internalizing expectations, he chooses presence, taking things one step at a time. Choosing RnB In a market dominated by Afrobeats and crossover sounds, Joshua Baraka admits that his allegiance to R&B is both deliberate and strategic. “If I had to choose a forever genre,” he says, “I would do R&B. It’s very wide. I can fuse it in a lot of ways.” To him, R&B is not limiting but expandable. It mixes into dancehall, Amapiano, soul, and Afro-influenced rhythms. That flexibility allows him to remain emotionally expressive while staying culturally relevant. “RnB is fused in everything,” he noted. “It’s easier to manipulate whatever you want to do.” This choice has become central to why many see him as the future but not abandoning African identity for global appeal. He is refining it. Concerts, access, and the business reality Recently, Joshua Baraka has been performing mostly at high-end events. He explained that he understands the concern but insists it is not intentional exclusion of some audience. “My music is for everyone,” he said. “It just so happens that promoters put me in certain spaces.” The reality, he explains, is economic. Concerts are expensive, venues are limited, and promoters must recover costs. Until infrastructure improves, accessibility remains a challenge not just for him, but for the entire industry. ALSO READ: Joshua Baraka, local acts light up DJ Pius' 15-year music anniversary A connected generation and shared future Perhaps one of Joshua Baraka’s most insightful observations is about regional unity. He believes East Africa’s new generation of artistes is more connected than ever possibly due to the internet and shared cultural consumption. “A Rwandan can consume Ugandan music. A Kenyan can consume Tanzanian music,” he said. “There is more unity now.” Yet challenges remain and that's weak infrastructure, limited venues, and poor understanding of music business systems like publishing and distribution. Still, he is optimistic. “We’re moving in the right direction, and we’re all learning,” he added. Away from the stage, the “Wrong Places” is quietly introspective. He enjoys anime, values privacy, and is selective about criticism. “I don’t take criticism,” he said. “I take opinions. And if it makes sense, I’ll consider it.” The singer draws inspiration from legends like late Mowzey Radio, Chronixx, Bob Marley, Stevie Wonder and a few other artists who balanced depth with accessibility. His latest album, Jovie, reflects that maturity and reference. “This Time”, is a track he calls timeless, both to perform and to live with. He said that it could be his forever sound among the catalogue so far. Joshua Baraka does not proclaim himself a leader of African music. Yet everything about his journey, his restraint, his craft, his clarity, suggests someone prepared for that role.
