#NsasiJuiced will give listeners at least something of everything with mixes from myself, my community and the scene from Kampala and beyond.

Special Guest: Mazambi Mukamba Christian (Born in December 25, 1996 in Goma, the Democratic Republic of Congo) known professionally as ChrisMan, is a Congolese Born Music Producer, Rapper, Songwriter and DJ. Firing off tracks that tear down the borders between Gqom, Tarraxinha, Soukous and Afrohouse, ChrisMan is one of the rising stars of the new Congolese Electronic Scene.

ChrisMan first gained recognition after releasing his first EP Ku Mwezi in November 2021 on Hakuna Kulala the sub-label of Nyege Nyege Tapes which led him to tour internationally, mainly in Europe where he took the opportunity to perform on big stages such as CTM Festival Berlin, Unsound Festival Krakow, Rewire Festival Den Haag, Festival Variation Nantes, Primavera Sounds Barcelona, Span and many more.

ChrisMan brings a bass-heavy selection to his sets, with influences from Sao Paulo, London, Luanda, Kampala, Durban and Lisbon; Afrocentric with global influences. He just released his first Album Makila on Hakuna Kulala (June 24, 2022); A personal exploration in music incorporating tarraxinha and minimal, slow and layered beats. He also has various collaborations with MCs and Nyege Nyege affiliates MC Yallah, Ecko Bazz, Biga Yut, Chrismec, Scotch Rolex, Don Zilla, Duma, Wulffluw XCIV…

Nsasi is known for their agile style of playing. This Enfant Terrible of the deeply conservative, picturesque town of Jinja, Uganda, earned an early reputation for blunt refusal of authority. Once excommunicated from a seminary in his childhood, Nsasi looked to their icon, the scandalous 1980s pop sensation; Tshala Mwana, as an inspiration for how to live & perform dangerously. Nsasi’s daring sound embodies both a nostalgia for traditional rhythms/sound palettes, and an affinity for hyper-modern, disruptive compositions. Making jumps between disparate sounds is a dominant part of Nsasi’s repertoire, which propels the listener through drastically different tempos & genres. This creates an open space of chances, in which skittered fluxes of acid could collide with Kiganda percussion, or with East African Trap. A fluid, compelling style.