Before ‘Nayomi’ was gifted to the world, producer Dexta Gabla, Joshua Baraka and Mun G, had already made a connection.
This was a time when singer Joshua Baraka’s career had started to take off because he was in his early years as a budding music star. So we caught up with him and had a deep conversion.
Who is Dexta Gabla and what is your real name and where does your name come from ?
I am Dexta Gabla, a music producer, singer, songwriter, and sound engineer.
The name Dexta has its roots in my childhood. Growing up, I was fascinated by the cartoon Dexter’s Laboratory, featuring Dexter, a young computer genius. I was always a computer enthusiast myself, and even today, I believe that if music hadn’t taken this path in my life, I would probably be a software engineer.
Tell us about your family and education background.
I was born Karakire Innocent in Ntinda-Kiwatule, Uganda. My academic journey took me through several institutions. I attended Naguru Parents, Najjera Progressive, and Trinity Academy for my primary education.
For secondary school, I studied at Ntare School, Trinity Senior Academy, and Turkish Light Academy. I later joined Makerere University Business School (MUBS), where I pursued a Bachelor of Business Administration (BBA).
How and when did you get into song production?
Although my interest in music started much earlier, I consider my time at university the beginning of my professional journey. A friend, Oloya Ivan, introduced me to Crim Soft, and that marked the beginning of our musical journey together.
Around the same period, I met Nana Ovie and later Ivan Golfman through Lary Chary. I began producing music for these artists, gradually building relationships, gaining experience, and finding my footing in the industry. From there, I just kept going.
What is the landscape like for producers in Uganda and East Africa right now?
The East African music landscape is constantly evolving. Traditionally, Kenya was largely associated with Gengetone, Tanzania with Bongo Flava, the DRC with Lingala, and Uganda with Kidandali.
However, those musical boundaries are becoming less defined as artists and audiences increasingly embrace different sounds and genres.
In my opinion, music producers are among the biggest forces driving this evolution. They are experimenting, blending influences, and helping shape what the new East African sound is becoming.
Having produced one of Joshua Baraka’s banger ’Nayomi’ ft Mun G, and several others how does it feel to have worked with the artist raising the Ugandan flag on the international level so early in your career?
One of the experiences I hold in high regard is working with Joshua Baraka during the earlier stages of his career. It was an honour to be part of that journey. At the time, none of us could have fully anticipated how far he would go. Knowing that I was among the people who contributed, in one way or another, to his musical journey is something I will never take for granted.
With Baraka’s success overseas do you feel like Ugandan music is beginning to breakthrough in the world market?
Ugandan music is not quite at the world stage yet, but I believe we are headed in the right direction. We’ve had individual successes through artists like Joshua Baraka, Eddy Kenzo, Radio and Weasel. However, for Uganda to break through internationally as an industry, I believe it will take a collective effort. We need a strong presence of multiple artists, the way you would describe Nigeria, South Africa or even the DRC.
Imagine if artists like Kohen Jaycee, Elliot Milquez, Crim Soft, Zeus, Mbeewo, Kasis, Ava Peace, Jowy Landa, Mimi Kampala, Gloria Bugie and many others were all enjoying international recognition. That would be a much stronger statement about Ugandan music as an industry.
What’s your opinion on foreign or outsider interests in Africa music today?
The growing global interest in African music has created incredible opportunities for African creatives, and Uganda is yet to claim its fair share of that success. As artists, we need to be prepared to recognise, embrace and take advantage of every opportunity that comes with this growing global influence.
You released your single ‘Darlie’ what inspired it and are you planning to seriously venture into music?
‘Darlie’ was inspired by an old-school Ugandan song from the 1980s. I wanted to create something new from something old, so I sampled the original guitars and gave them a fresh, contemporary Zouk touch.
What is your creative process? What’s next for you?
My creative process is largely guided by how I feel at a particular moment, what I’m listening to, and sometimes just pure intuition. My emotional state often dictates the kind of music I want to create.
I usually catch a wave and follow it wherever it takes me. I don’t necessarily have a fixed formula or approach to making music. I allow the feeling to lead, and the music takes shape from there.
What are some of the challenges you faced in the industry and positives?
When I was starting out, one of my biggest challenges was not having a studio of my own. I had to move from one studio to another, trying to find spaces where I could work and create.
Beyond that, the general music infrastructure in Uganda is still not particularly favourable to producers and songwriters. There is still a lot that needs to be done to create an environment where creatives, especially those working behind the scenes, can thrive and benefit fairly from the industry.
Also,The industry has given me a lot to be grateful for. I’ve made meaningful friendships, built a livelihood for myself through music, and had the opportunity to work with some of the legends and people I once looked up to.
From Lary Chary, Mun G to Jose Chameleone and Naava Grey, I’ve had the privilege of working with and meeting people who have contributed significantly to the music industry. I’ve also built relationships with so many other industry players along the way. Those experiences mean a lot to me.
Have you faced any witchcraft as it claimed by other players in the industry?
Witchcraft, No, I haven’t personally experienced anything like that. Perhaps it’s because I tend to stay away from a lot of industry drama, and I also pray a lot.
How has technology (AI) impacted in the industry or affected the music business?
AI has had a major impact on the music industry. Today, almost everyone can produce music, generate vocals or create songs with the help of AI. While this comes with exciting possibilities, I think it has also affected how people perceive the work of creatives.
Who are the international artists you look forward to working with and where do you see yourself in the next few years?
There are quite a number of international artists I’d love to work with. Diamond Platnumz, BNXN (Buju), Ayra Starr and Wizkid are definitely among them. And that’s just to mention a few. I look forward to exploring more international collaborations in the coming years.
Joshua Baraka and Mun G unite for heartfelt love song “Nayomi”
Have you ever been chased from a studio and who inspired you to start music production?
I started out as a producer, so I’ve never really had an experience of being chased out of a studio. However, there have been instances where I’ve had to walk away from a studio session because I wasn’t connecting with the people I was working with.
The two main producers who inspired me to get into music production were Timbaland and Kanye West. Their creativity, sound, and approach to making music played a huge role in shaping my interest in production.
What are your best produced songs that you feel on those projects you out did yourself?
Some of the productions I’m most proud of include Loving Beyond by Naava Grey, Selfie by Busybusy, Tugabane by Ajuna, and Anita by Crim Soft.
Interestingly, these aren’t necessarily my biggest songs in terms of popularity, but they are among the productions that demanded the most time, attention and effort from me.
On the other hand, some of my best productions include Sweeting My Mind by Crim Soft, Nayomi by Joshua Baraka and Mun G, Focus by Herbert Skillz and Elliot Milquez, Tuja Kufuna by Mbeewo, Njagala Banjagala by Kohen Jaycee, and Nkutware Mbarara by Ivan Golfman, among others.
Your Top Five Ugandan Producers and African Producers
In Uganda, some of my favourite producers include Dking, St. Andrews Music, Nessim, Herbert Skillz and Charmant Mushaga.
Across Africa, I admire the work of Sarz, Kel-P, Magicsticks, P. Prime and Pheelz.
