Gospel singer Mungu Feni has stated that Ugandan gospel musicians face difficulties in sustaining long-term careers due to financial challenges and outdated perceptions of gospel music. He emphasizes the necessity for the industry to evolve in order to appeal to younger audiences.

Naira Ali has expressed her disapproval of DJs who focus on playing viral songs instead of honing their skills in the profession. In a statement, she emphasized that merely playing trending tracks from platforms like YouTube or TikTok does not qualify someone as a true DJ.

Ugandan singer Pallaso has said that the price of an ordinary concert ticket reveals only part of the financial story behind live shows. According to Pallaso, money from regular ticket sales is often absorbed by production costs, while artists can earn significant returns through premium tables, sponsorships and the networks they build around themselves. He explained that these additional revenue streams are where the 'real money' in concerts lies.

Singer Yiya Mozey Kayanja has discussed the trajectory of his music career, which saw significant success alongside Ziza Bafana with hits like "Tebakulimba" and "Ono Yeyankuba." However, following their split, his career faced challenges, leading to issues related to fame and poverty. Mozey reflects on his experiences and the denial he faced after the decline of his musical success.

Ugandan artist Pallaso has addressed the debate over concerts charging entrance fees of UGX 20,000 to 30,000, disputing claims that such shows are automatically unprofitable. According to Pallaso, ticket sales from these affordable prices are not necessarily his biggest source of profit, suggesting artists can still earn millions through other revenue streams linked to such events, as reported by BigEye.UG.

Ugandan singer Tracy Melon has criticised individuals creating AI versions of artists' songs and uploading them to music streaming platforms, urging them to stop the practice, which she described as unfair. According to MBU, Melon argued that musicians invest their hearts, time, money and energy into recording music, only to find artificial copies of their work circulating online without their consent.