Spotify Wrapped 2025 arrived last week on Wednesday, and if you’ve been on social media recently, you’ve probably noticed the banners. They are everywhere. “Spotify Wrapped” graphics were flooding WhatsApp, Instagram, and X (formerly known as Twitter), a clear indicator that the populace is finally embracing music streaming culture.

For Swangz Avenue, it is a triumphant moment as the premium record label secured three of the top five spots among the most streamed artistes; proof that local consumption is continuing to grow. The data confirms that the industry is thriving and that Ugandans are increasingly embracing their own. Ugandan music is not slowing down. The industry is digitizing, collaborating, and claiming its own territory, and at the heart of this momentum are three familiar names from one powerhouse: Elijah Kitaka, Vinka, and Azawi.

Their numbers place them firmly at the top of a year defined by strategic investment, viral hits, and unprecedented reach, marking the third time in a row the label has dominated the industry.

Kitaka Takes the Throne When Ugandans pressed play this year, one artiste stood front and centre. Elijah Kitaka is the top artiste on the list, cementing his reputation as one of the country’s most reliable hit-makers with 185,870 monthly listeners.

His catalogue’s replay value and collaborative power are undeniable. More importantly, he delivered two of the top five most streamed songs in Uganda this year: “Ekyange” and “Dawa.” Fans stayed locked in, and the numbers prove it. To cap it off, his project Bedroom Essentials stood out as the third most streamed album on Spotify in Uganda this year.

He is currently having a moment with his new earworm “Daily Bundle.” Other exciting milestones this year include a successful show in Nairobi, topping charts both on mainstream radio and streaming platforms, racking up multiple awards, and featuring on some of the hottest songs of the year like “Good Idea,” “Go (Remix),” and the official CHAN soundtrack/ anthem  “PAMOJA” alongside Savara and Tanzania’s Phina.

Baraka’s Global Reach and Saha’s Organic Power Joshua Baraka has been part of the Spotify Wrapped conversation every year since his breakout single “NaNa” took the world by storm. “Wrong Places” has made this Joshua’s year, having been listened to in 183 countries. Many Ugandan music lovers regard him as Uganda’s strongest music export. His sound and style appeal to international audiences, making him the perfect outlier on a list dominated by a major label. Like global Afrobeats stars, Baraka’s strength is impact that crosses borders effortlessly.

Then there is King Saha. The artiste who held two sold-out concerts this year cannot be overlooked. The fact that both shows sold out speaks volumes about his dedicated fanbase. This same loyalty propelled fans to stream his music, earning him a place among the elite.

The Swangz Women Reinforce the Takeover

The rest of the chart tells an equally compelling Swangz Avenue story. Azawi and Vinka complete the label’s historic run. Azawi, commanding 167,430 monthly listeners, continues to be the label’s anchor. Her album African Music has consistently soundtracked the lives of many Ugandan music fans, standing out as the second most streamed album on Spotify in Uganda this year. Fresh from renewing her contract, her numbers confirm that her sonic world remains one of the industry’s most addictive exports. Swangz Avenue’s decision to extend her contract for another five years signals more music, more albums, more tours, more concerts and everything that defines the Azawi x Swangz Avenue artiste–management partnership. She is joined by Vinka, who boasts 115,829 monthly listeners. With numerous hit songs, collaborations, and a reputation for electrifying performances, Vinka’s consistency has been unmistakable this year. Her songs like “Sirubula” and “Gukwase” have inspired countless dance challenges, proving that the strength of Swangz Avenue’s women is not a moment, it is a movement.

The outstanding performance by Swangz Avenue is backed by a strong distribution structure. This is largely influenced by the label managing its own music distribution through Kelele Digital, its 360 full-service music and video distribution, publishing, and content monetization platform.

This trend also highlights the increasing need for artistes and music business executives to take back their power, regain control of distribution, and play by their own rules.