As digital disruption, shrinking revenues, and tighter regulation squeeze Uganda’s media.
An industry crowded with over 300 radio stations, dozens of TV outlets, and countless online rivals, faces existential battles over relevance, revenue, and survival.
From debt-ridden houses to the rise of TikTok and Google, broadcasters are under siege.
Yet Dr Innocent Nahabwe, Chair of the National Association of Broadcasters, insists it is an industry in pain, but not broken — and outlines how resilience, credibility, and innovation can future-proof its revival.
What is your vision for the broadcasting industry in Uganda?
The broadcasting industry has faced numerous challenges.
The biggest competition we face is not from the next TV station or the next radio station, but from the mobile phone.
The power of broadcasting has been liberalised. People now carry it in their hands.
A blogger with just a phone can attract a bigger audience than a whole media house. Even those who did not study the trade have big followings.
And what does he use? Just a phone. No staff. No preparation. No costs.
Meanwhile, a media house employs 20–30 people to produce content, but it struggles to gain traction. That is a considerable challenge.
As a sector, we are seeking ways to remain relevant.
Yes, people watch TikTok videos. So we are competing for that same time and attention.
We are asking ourselves how best we can engage with it. We want to remain relevant, deliver value, and be respected.
The idea is that when you see all those other things, you should still come back to us to confirm.
We aim to remain the trusted source and benchmark. Then we can start conversations.
In fact, bloggers often pick up stories from the media and talk about them.
Another challenge is diminishing advertising revenue. We are competing with Google and others.
While we charge a premium for an advert, Google gives detailed analytics. They show how many people saw an ad, at what time, and in which location.
They even allow the person to make a direct purchase.
How do you compete in such a space? We tell clients we have thousands of viewers, but those numbers are not verifiable. There is no record. That is a considerable challenge.
Our solution is credible research. We are working with Ipsos to generate solid data that quantifies the value we offer. With that, we can compete.
Lastly, there is pressure from the government. There is a general push towards firmer media control, not only here but also in the UK and the US. This limits what the media can do.
As broadcasters, we must find ways not to resist, but to operate harmoniously with the government and the regulator.
You talked about shifts in digital migration and online platforms. How are you helping your members adapt to the changes?
In the past, online broadcasters were not regulated. An unregulated industry is often not valued. We worked with UCC to register some of these members. They are now recognised and doing business.
We have also held workshops, and we continue to do so. The aim is to help our members digitalise what they do and take advantage of the opportunities in the digital space.
Technology should not be viewed as an enemy, but rather as a friend, an asset, and a tool for growth.
In the past, a broadcaster could only reach one area. Now, through apps, you can be based in Kampala but be heard nationwide.
Previously, when something was said on the radio, you could not get it back. Today, with apps, you can rewind radio and TV and catch up.
Technology has expanded our reach. We want our members to appreciate that and embrace it. The idea is to move with the times, not resist them.
But we face a disadvantage. Radio and TV remain heavily regulated. As a result, we are limited. Meanwhile, people like Full Figure and Sheba can say anything online.
They are not regulated. Yet we are competing for the same audience. So the question remains: how do we survive, stay afloat, and stay ahead? That is our problem.
You touched on the shrinking revenue because of competition. What strategies is NAB advocating for to ensure sustainability for traditional broadcasters?
First, the government should allocate more resources to communication. The government has implemented numerous programs, but many people are unaware of them.
It would be a win-win situation if even 1% of the national budget were ring-fenced for media. It would support sustainability for us and ensure government programmes are well communicated.
We push for this during budget discussions. Often, money meant for media ends up being spent on posters, events, or workshops instead.
That is not effective. The media has already proved its value. During the Covid-19 pandemic, the media played a critical role. It saved lives.
The media has also proven itself effective in governance and public health campaigns, such as those related to HIV.
Another significant threat is Uganda’s very low advertising rates. This is because of the fragmented media landscape.
Uganda, with a population of 49.5 million, has more radio stations than China, which has over one billion people. We have over 309 radio stations, 75 TV stations, and numerous online outlets.
Because of this, everyone undercuts the other. Our effort is to regulate the rates by setting minimum prices in different regions.
That way, broadcasters are not paid peanuts. We also encourage our members not to charge below the minimum.
Another issue is debt collection. Clients are not paying media houses on time. After running a 30-day campaign, one issues an invoice but waits for 100 days or more to be paid.
That means you are running on half-year credit.
No other business works like this—not water, not electricity, not groceries. However, the media operates on credit, which is a significant challenge.
The government is one of the biggest debtors. How are you dealing with that?
We have engaged the PSST and the ICT Minister. Many domestic arrears owed to the media were privatised. Money was released to settle them.
As of now, before we run any government campaign, we insist on an LPO. With an LPO, the payment must be made within 45 days. An LPO also means the money has already been budgeted for.
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UAA Announces Silverback Creative Week Poised To Elevate The Marketing and Communications IndustryThis has dramatically improved the situation. Today, you cannot run a government business without proving there is a budget. That is progress.
Fake news and misinformation are rampant online. What role can broadcasters play in countering this?
The only reason we can continue to exist is if we remain credible. That is our unique selling proposition.
In terms of numbers, individuals often attract bigger audiences than we do. But credibility is our strength. Owing to heavy regulation, we face huge fines if we fail to meet minimum broadcasting standards.
As a sector, we verify information and prevent the spread of fake news. When something is false, we quickly tell the public.
People come to us to confirm. They may say, “I saw this on TikTok, but is it true?” They turn to our channels.
The biggest media channels in Uganda still belong to established media houses. That makes a big difference.
How are you ensuring that even the small players outside Kampala are supported? Because often the big budgets and support go to Kampala.
There is an ongoing review at the regulator. Over 80% of media houses do not break even. Many were started for political purposes.
When the owner fails, dies, or grows old, the radio frequency ends up in the hands of someone who cannot manage it. Some stations will inevitably drop off.
We now have a fully-fledged secretariat. It has a CEO, two administrators, and legal support. Their role is advisory. They help our members navigate challenges.
For upcountry stations, survival requires a low-cost model. They should reduce expenses and run lean.
Their focus must be local because listeners want local content. In Mbarara, for example, people are not interested in what is happening in Kampala.
Local content, such as news about their leaders, churches, and obituaries, generates revenue.
How do you monitor and enforce intellectual property laws?
Broadcasters are the biggest victims of IP abuse. We spend a great deal to create a show. As soon as it airs, someone screen-records it.
Later, when you publish it, you are accused of plagiarism because they released it before you.
Currently, platforms like YouTube enable us to report such abuse. But it is frustrating to get strikes for your own content.
Big companies like Instagram, Google, and YouTube have offices in Kenya, but none in Uganda. That leaves us disadvantaged. We hope the government can intervene so these companies recognise broadcasters’ IP.
When it comes to music, the challenge is different. Some musicians even deny rights to their own songs just so the music can be played.
Our music industry is still young. There is no significant financial gain from endorsements or streaming in the same way as in other countries. Income comes from concerts and appearances.
Those only happen when the music is played on the radio and TV. So, for now, the demand for upfront copyright payments is not practical.
What opportunities do you see for broadcasters and other creative sectors to grow the industry?
UCC requires stations to air up to 70% local content. This has created collaboration opportunities. For example, NTV works with the Comedy Store. Pearl Magic works with StarTimes and Amakula.
Collaboration is key for content creation.
The challenge is that content creation is not well-regulated. There is little investment, yet the opportunities are enormous.
For instance, when we asked the Uganda Film and Movie Industry for a catalogue, they had fewer than 250 films. That is not even enough for one month of programming, let alone continuity.
There is a cry from parents. Unlike before, TV stations now broadcast music shows outside of scheduled times. What are you doing about that?
Whoever does that knows it is illegal. We have a watershed hour starting at 10 pm. Only after that can such content air.
But stations feel pressured. They see individuals attracting huge numbers online. They want to compete. Yet radio and TV are the “white dog”—easily seen, easily stoned.
We are regulated, and there is always a record of our activities.
Meanwhile, gadgets and the internet provide unlimited access to content. Who is monitoring how children use them?
Broadcasters end up being blamed, but the problem is much broader.
We have achieved several things. One is ring-fenced media budgets, though that is still a work in progress.
What do you want your term to be remembered for?
Another is keeping free-to-air broadcasting truly free.
During digital migration, TV stations relinquished a significant portion of their frequencies to support the process.
The expectation was that Signet, the national signal distributor, would carry all free-to-air stations. Unfortunately, Signet only covers Kampala.
As a result, stations are forced to buy costly hybrid licences, parting with $46,000 plus $24,000 in subscription fees every year.
They then beg pay channels like StarTimes to carry them, which comes at another cost of $3,000. That makes TV broadcasting very costly.
However, in the original arrangement, one would only have to part with $2,400 annually.
Thankfully, StarTimes’ monopoly ended. But no other player has been allowed to enter the signal distribution space.
Signet remains incompetent, yet it charges Shs 12 m per station every month. We negotiated this down to Shs 8 m in February 2025, but we want it even lower.
Through our lobbying efforts, UBC secured funding to expand free-to-air access nationwide. Both direct-to-home and terrestrial TV options are being rolled out.
Some sites are active already, and more will come online before our term ends.
We are also addressing old debt from the Covid period. The idea is to push for it to be converted into government airtime.
There is also a push for a review of licence fees. Many media houses cannot afford them, according to a recent study.
I want my term to be remembered for making licences more realistic and for ensuring broadcasters can survive.
