Music composer Kamuzu Kassa and a group of over 30 artists are at loggerheads over unpaid performance fees related to an Ethiopian cultural performance tour in BRICS countries. The artists who were part of the Kin Ethiopia tour have accused Kamuzu and his production company, Shakura, of failing to pay them for their work.

The tour featured around a dozen cultural performances overseas, including in China, Russia, and other BRICS countries, as well as several domestic dates. It was organized and led by the Ministry of Culture and Sport and the Ministry of Foreign Affairs, alongside Kamuzu and his production company.

The tour got underway last year as part of a ‘United Culture Forum’ in which performers from 60 countries have participated,  according to statements from the Ministry of Culture. The Ministry, which has reportedly budgeted hundreds of millions of Birr for the tours, has previously stated that Ethiopia is “lucky” to be part of such a global platform.

As part of the preparations, more than 30 artists and performers entered into contracts with Kamuzu Kassa and Shakura Production, which was hired by the Ministry to organize the performances.

According to its website, Shakura works on audio recording and mixing, music composition and arrangement, and sound design for film and media. It was established in 2006 and is led by Kamuzu Kassa.

The artists have since accused Shakura of refusing to compensate them for their work in full after receiving payment from the Ministry and despite the successful execution of 11 performances. Under an agreement with the event organizer, Shakura Production, the artists were to be paid 217,500 Birr per individual for every four stages performed.

The artists report they notified the Ministry, which confirmed that Shakura and Kamuzu had received the budget. A letter from the Ministry addressed to the production company three months ago acknowledges Shakura’s failure to effect payment.

“The Ministry did not enter into an agreement directly with the cultural and artistic team, but the Ministry entered into an agreement with Shakura Production. Therefore, we urge Shakura Production to answer the demands of the performers,” reads the letter.

Nonetheless, a group of 37 performers say they were forced to take the case to court after their appeals failed to yield results.

The total claim brought forward has been solidified at nearly 31 million Birr. This comprehensive figure includes the accumulated professional fees for the international and domestic tours, damages, and four months of unpaid daily rehearsal allowances. The artists contend that these daily payments were essential for their survival during the intensive preparation phases, yet they remain entirely outstanding.

“We have waited for a year and two months without payment. During all this time, we performed to live up to our oath to the honor of our nation. We received this duty from the Speaker of Parliament and we kept our word. But we can no longer wait for payment. All artists in this group have dedicated themselves to this project and abandoned other jobs in the process, sacrificing other opportunities for the success of this project,” reads the lawsuit filed by the artists.

They claim Kamuzu has repeatedly put off their requests for payment using “flimsy excuses.”

Judges at the Federal High Court have since ordered a 20-day injunction on bank accounts belonging to Shakura and Kamuzu.

A number of commercial banks, including CBE, Abyssinia, Cooperative Bank of Oromia, and Awash, have been notified of the injunction. The court has also ordered a freeze on assets belonging to Kamuzu Kassa.

“We were the faces of Ethiopia rising on the global stage, yet we returned home to empty accounts,” one of the artists told The Reporter. “For months, we were told to be patient. Shakura claimed they hadn’t received the full budget from the Ministry of Culture and Sport.”

​The artists report that while some members received a minor partial payment of 50,000 Birr, the bulk of the 30.8 million Birr remains unpaid.

​Shakura Production Responds

In an exclusive interview, Shakura Production head Kamuzu Kassa denied allegations of a total breach of contract.

“We are paying according to the agreement,” Kamuzu stated. While acknowledging a portion of payment is still remaining, he maintained that the company has already disbursed significant funds.

​Kamuzu emphasized that the project was a collaborative effort with the Ministry, stating, “We provided these artists with work and we will fulfill the payment according to the terms of the agreement.” He declined, however, to specify the exact figures already paid out to the 37 individuals.

The case highlights a growing tension between private producers and the government entities that commission them. While the Ministry of Culture and Sport has previously intervened via written correspondence, they remained unavailable for comment at the time of publication, failing to respond to inquiries regarding the status of the Kin Ethiopia budget.

​As the 20-day freezing order expires and the formal lawsuit moves forward, the 37 artists of Kin-Ethiopia cultural group remain steadfast. For them, the battle is no longer about the applause of an international audience, but the fundamental right to the 30.8 million Birr in wages and allowances earned while representing their country.

The assessment comes as preparations for the seventh national elections enter their final phase against a backdrop of discontent among opposition parties, glaring security concerns, logistical hurdles, and budgetary concerns.

Melatwork Hailu, NEBE chair, had indicated the taskforce will include representatives from political parties, civil society organizations, and election observers operating in areas identified as security-sensitive.

The teams are tasked with assessing conditions on the ground and providing recommendations aimed at ensuring a safer electoral environment in regions facing heightened risk, according to election officials.

Opposition parties and the NEBE have been in disagreement over official security assessments. Last month, the Board published a map portraying the vast majority of constituencies as safe and ready to conduct voting. Opposition figures responded by saying they have not been able to field candidates or conduct campaigns in many of the constituencies the Board had highlighted in green on the map.

Meanwhile, election officials say more than 50 million citizens (27.4 million men and 23.1 women) have registered to vote on June 1, 2026. Five million of them registered online.

A total of 195,000 electoral administrators have been deployed nationwide, and around 70,000 of them have already received payments totaling one billion Birr, according to the NEBE. They are deployed at nearly 49,000 polling stations across 614 constituencies.

The government has allocated 10 billion Birr for the election process; however, officials stated that the amount is insufficient under current operational demands, prompting a formal request for additional funding, which is still pending a response.

Political parties have received a total of 81 million Birr to facilitate their engagement in the election process, and the Board confirmed that 37 media organizations have been accredited for election coverage, with 1,131 journalists issued official press badges.

In addition, 169 civil society organizations have been registered as election observers. International observation missions from the African Union and IGAD are also expected to monitor the electoral process.

Officials acknowledged that electoral activities have faced challenges in parts of Oromia, Amhara, Harar, and Sidama regions, where some polling sites were disrupted due to alleged irregular voter registration practices.

Nationwide, 22 polling stations have been closed following reported irregularities.

Regarding Tigray, officials say they have no open communication lines with the TPLF, which itself is no longer qualified to take part in an election.

With preparations accelerating, officials confirmed that the 7th national election will be held in less than six weeks, marking the final stretch toward election day as the newly announced security review committee prepares to begin its assessment work next week.

By 11 p.m., the hall at the Addis Ababa University Cultural Center was already alive — not with noise alone, but with a mounting, almost tactile anticipation. Students filled the seats; others stood shoulder to shoulder along the walls. Invited guests and curious onlookers pressed inward, forming a dense, electric crowd. The 52nd edition of the weekly “Angafa” art show was minutes from starting.

Scheduled for 11:30, the evening veered off script before it began. The lights went out. For a moment, there was silence. Then illumination returned — not from above, but from within the audience. Dozens of mobile phone flashlights flickered on, casting a soft, collective glow across faces, hands and a stage that refused to disappear.

Out of that light, a voice emerged. Yohannes Alemayehu, a singer from Orchestra Ethiopia Band, began “Hulemenash Mulu,” the Tewodros Tadesse classic music. The audience joined almost instantly, their voices swelling into a chorus that filled the hall. “It didn’t even feel like there was a blackout,” one attendee said. Moments later, the power returned.

What might have been a disruption became something closer to authorship. The audience had not merely endured the interruption; it had absorbed it, reshaping the moment into part of the performance itself. When the lights came back, the program resumed with sharpened energy.

The Fishers Second Band opened with a vibrant set, followed by the young vocalist Anteneh Tesfaye, who performed Tilahun Gessesse’s “Ena Bebekule,” drawing a strong, immediate response.

Then the evening shifted into poetry. Yabsera Tameru took the stage, reading from his poetry book, Love Hope. At the end, he stepped toward the guest artist Dibekulu Tafese and handed him a copy — a quiet, symbolic gesture that suggested continuity between emerging and established voices.

Sirak Wendemu followed, reading from his third book, Somsoma. His delivery drew the hall into near-total stillness before applause broke through. The mood shifted again when Dibekulu purchased both books onstage — each priced at 5,000 birr — transforming appreciation into tangible support.

For many in the room, Dibekulu is more than a guest performer; he is a defining figure in contemporary Ethiopian music. Raised in Addis Ababa, he gained prominence as the lead vocalist of Jano Band, whose fusion of Ethiopian musical traditions with rock elements helped reshape the soundscape of a younger generation. Their album Ertale, featuring tracks like “Ayrak,” marked a turning point. After years of touring across Europe and the United States, he embarked on a solo career around 2020, seeking greater artistic latitude.

Back onstage, that range was visible. A performance by the Ethio Yaredawiyan Dance Group evolved into a shared moment, as Dibekulu joined the dancers, dissolving the boundary between featured artist and participant.

A fashion segment followed under the theme “Tikur Engedaye Meshet,” with the Addis Ababa University Cultural Center modeling group turning the stage into a runway, walking to Dibekulu’s “Tikur Engedaye.”

Music returned in succession. Mekdes Webeshet performed Netsanet Melese’s “Yetale Lij Yetal,” followed by Dagmawi Negus, who energized the room with Girma Beyene’s “Enken Yelalebesh,” combining voice and movement in a kinetic set. Singer Berihun Gizaw closed the sequence with Melkamu Tebeje’s “Ye Leben Adarash,” drawing sustained, emotional applause.

 Dibekulu returned to the spotlight for a quieter turn: an onstage conversation tracing his artistic evolution, from band frontman to solo performer. The tone shifted again when, mid-discussion, he began a restrained, deeply felt rendition of Alemayehu Eshete’s “Wededku Afekerkush.” The hall fell still. Moments later, he pivoted, picking up the drums and launching into his own “Ayrak,” reintroducing rhythm and momentum.

By the time he moved through “Ayrak” and “Tikur Engedaye,” the audience was fully absorbed — singing, clapping and moving in near unison.

“I am so happy to be here,” Dibekulu said. “The students’ energy is incredible — it feels like a concert. This reminds me of the Jano vibe. The poets, singers and dancers — all the young performers — are amazing.”

Performers, too, framed the evening as both milestone and beginning. Speaking afterward, Yohannes described the moment as formative. “At this stage, I introduce myself as an emerging artist,” he said. “It is a great pleasure to perform for this audience. I feel optimistic about the future. I will come with my own music.”

Dagmawi Negus, known as Dagi Jing, emphasized the personal significance of sharing the stage with Dibekulu. “Performing with him was a dream,” he said. “I started performing three years ago on this same stage. I want to thank my parents, my family and especially my bandmates, the Fishers Second Band — they supported me throughout tonight.” He added that while he primarily performs diatonic Amharic songs, he intends to experiment with new styles in the future.

Behind the performances lies a deliberate structure.

Naod Degf, a third-year theater arts student and a representative of the cultural center, described a program designed for continuity as much as showcase. “We organize this art show every Wednesday,” he said. “There are also film screenings on Tuesday nights, along with literary events and book reviews. It’s open to everyone — free of charge.”

For those in attendance, the experience extended beyond performance. Bilen Kuru, attending for the first time, described the event as both inspiration and entry point. “I’m very excited to be here,” she said. “I love Dibekulu’s music, and I enjoyed the event a lot. I’m also trying to sing — this inspires me.”

Abel Mekuria, a regular, framed it more simply. “Whenever I feel stressed, I come here,” he said. “Art relaxes you. It helps you look into yourself.”

As the evening drew to a close, the Addis Ababa University Cultural Center’s director, Assistant Professor Tesfaye Eshetu, presented Dibekulu with a certificate of appreciation. The artist Seleshi Mola followed with a hand-painted work — a final exchange in a night defined by reciprocity.

The lights, by then, were steady. But what lingered was something less tangible: the “Angafa” art show offered a clear, if familiar, proposition—art does not wait for ideal conditions. It generates its own.

The Board said 50,514,155 voters had been registered, including more than 45.1 million through manual processes and the remainder digitally. The figures were presented by the chairwoman, Melatwork Hailu, during a briefing that outlined voter demographics, logistics, financing and operational challenges. 

The voter roll includes over 27.3 million men and more than 23.1 million women, according to the Board. Voters registration window closed as of today, Board disclosed. 

Election preparations are underway nationwide, with 195,316 personnel deployed. About 70,000 election workers have so far been paid a combined one billion birr, officials said.

NEBE reported that 48,829 polling stations have been established across the country, including 46,352 main stations, 1,500 sub-stations and 2,477 additional sites. A total of 614 constituencies are expected to take part in the vote.

Despite the scale of the preparations, the Board believes the 10 billion birr allocated by the government for the election is insufficient “under current operational conditions” and that it had formally requested additional funding. A response is pending.

The Board also said it had distributed 81 million birr to 36 political parties to support their participation.

On media access, NEBE said 37 outlets had been accredited to cover the election and that 1,131 journalists had received credentials. In addition, 169 civil society organizations have been registered as observers. International monitoring missions from the African Union and the Intergovernmental Authority on Development are expected to observe the vote.

Officials acknowledged disruptions in parts of Oromia, Amhara, Harar and Sidama regions, where some polling sites have been closed over allegations of illegal voter registration. Nationwide, 22 polling stations have been shut down because of irregularities, the board said.

In the Tigray region, NEBE said it was still seeking conditions to conduct voting but currently had no operational communication with the Tigray People’s Liberation Front, which it said had been disqualified from participation.

As part of its outreach efforts, the Board said it had organized seven political party debates to encourage public engagement.

The election, Ethiopia’s seventh national vote, is scheduled to take place in 39 days, marking what officials described as the final phase of preparations.

An anonymous source working as a driver for a private company told The Reporter that he encountered extreme fuel prices while operating in the Gambella region, where access to fuel through legal pumping stations was severely limited. A liter of diesel retails for upwards of 500 Birr in the region’s parallel fuel market.

“There was no alternative. Without fuel, the work stops,” the driver told The Reporter.

In Addis Ababa, fuel shortages are also straining daily operations, with long queues forming at stations and complaints of unequal access becoming increasingly common. Drivers say informal payments are influencing service delivery.

“Those who pay between 300 and 400 Birr per liter often get priority,” said one driver who requested anonymity. “Others are forced to wait, losing two to three working days in the process.”

The situation has fueled the expansion of illegal fuel resale networks. In rural areas such as Chancho, on the outskirts of the capital, fuel is reportedly being diverted from legal stations and resold at inflated prices through informal channels.

Lemma Bedane, a driver, said he purchased benzene for 350 Birr a liter from individuals operating out of private residences.

“These sellers buy fuel from stations and resell it illegally,” he said. “They store it in houses and sell it in small plastic containers.”

According to Lemma, access to these suppliers often depends on trust and local connections.

“If you don’t look suspicious, local drivers may guide you,” he said, pointing to the covert nature of the trade.

The financial impact on drivers has been significant. Transport operators report that the cost of filling a vehicle has more than doubled under current conditions.

“Previously, I paid around 7,000 Birr to fill my tank at official prices,” Lemma said. “Now, it can reach up to 16,000 Birr. It’s becoming impossible to manage.”

The reports sharply contradict the government’s amended rate of 163 Birr per liter of diesel, underscoring the widening gap between official pricing and realities on the ground.

A member of the Ethiopian Petroleum Dealers’ Association, speaking on condition of anonymity, said the situation reflects broader supply chain challenges.

“When fuel distribution slows, artificial shortages emerge, creating opportunities for illegal price increases,” the official said. “We are hearing about unauthorized sales at 300 to 400 Birr per liter in several areas, including Addis Ababa.”

He added that high demand from large-scale development projects is also contributing to the pressure. Companies engaged in construction and infrastructure often choose to purchase fuel at inflated prices to avoid costly delays.

“Project interruptions can result in significant losses, including salaries, contract penalties, and time overruns,” he said. “As a result, some companies opt to secure fuel at any available price.”

He called for stronger government oversight and more efficient fuel distribution systems to address the growing crisis. He also suggested that expanding private sector participation in fuel distribution could help stabilize supply.

“Strict price controls alone cannot resolve the issue if supply remains constrained,” he said. “Without improved distribution, such controls may unintentionally worsen artificial shortages.”

The situation underscores the urgent need for coordinated policy measures to stabilize supply, strengthen monitoring, and restore confidence in the formal fuel distribution system.

Veronica Adane has quickly established herself as one of Ethiopia’s most dynamic contemporary artists, skillfully blending traditional Ethiopian sounds with modern production to captivate audiences both at home and across the continent. She graduated from Mekelle University with a Bachelor’s degree in journalism and communication, bringing not only creative artistry but also a keen understanding of media and audience engagement to her work.

Her album Meteriyaye has amassed millions of streams and views across digital platforms, marking a milestone in both commercial success and cultural impact within Ethiopia’s music industry. Between 2025 and early 2026, Veronica achieved pan-African recognition, winning Artist of the Year (Continental) and Best Female Artist at the 2025 Zikomo Africa Awards in Dares Salaam. She followed this triumph with a major win at the 9th All Africa Music Awards (AFRIMA) in January 2026, where her song “Kante Lela” was honored as Best African Traditional.

Domestically, Meteriyaye dominated the Ethiopian music scene, earning Album of the Year and solidifying Veronica’s reputation as one of the nation’s leading vocalists. Her achievements have been celebrated with a high-profile homecoming in Addis Ababa, and she continues to build on her success with new nominations and growing continental influence.

In an exclusive conversation with The Reporter’s Surafel Ashebir, Veronica spoke about her journey, her artistic vision, and her plans for the future. EXCERPTS:

The Reporter: You have emerged as one of Ethiopia’s most prominent contemporary artists in a relatively short time. What would you identify as the “turning point” in your journey?

Veronica: The turning point in my journey came when I decided to be completely myself; authentic, real, and unapologetic. That decision truly changed everything for me.

I’ve always believed that being yourself is the easiest thing to do. It doesn’t cost money, it doesn’t require preparation, and it doesn’t drain your energy. When you’re being real, you don’t have to pretend or carry the pressure and anxiety of trying to be someone else. For me, the person I am off camera is the same person people see on camera and that’s what creates a genuine connection.

At the beginning, I had zero followers on Instagram. I remember recording a simple one-minute video in my university dorm with no makeup, no styling, nothing special. It was just me, singing in the most natural way. That video went viral, and I truly believe it’s because people connected with how real it was.

Within a few months, I gained over 100,000 followers, and opportunities started coming my way. Producers, media professionals, and my creativities began reaching out, and my career grew very quickly from that moment.

What made that experience a real turning point is that I never changed after it. The girl people saw in that very first one-minute video is still who I am today. Whether I had zero followers or now have millions across platforms like TikTok and Instagram, I’ve remained the same.

At the same time, I’ve always stayed grounded. I respect my family, my culture, and where I come from, and those values guide me in everything I do. I also try to use my voice to support and uplift others whenever I can.

Most importantly, I put God first in my life. I truly believe that everything I have today comes from Him, and He is the main reason I am who I am today.

Your work blends traditional Ethiopian sounds with modern production. How do you define your artistic identity within this evolving musical landscape?

I define my artistic identity as a bridge between tradition and modern expression. My music is rooted in Ethiopian culture, especially in its unique pentatonic system and qinit modes like Tizita, Bati, and Ambassel, which carry deep emotional and cultural meaning. Those elements are not just influences, they are part of who I am.

At the same time, I blend these traditional sounds with contemporary styles like R&B and modern production, so my music can connect with today’s generation while still staying authentic. I want it to feel both culturally grounded and globally relevant.

I’m very proud of where I come from, and I try to reflect that in everything I create. It’s important for me that young people feel confident in their roots, while also seeing that our sound can travel and resonate beyond borders.

For me, everything comes back to authenticity being real, staying grounded, and growing without losing my foundation. That balance between honoring tradition and embracing evolution is what truly defines me as an artist.

The Ethiopian music industry appears to be undergoing significant changes. How do you assess its current trajectory, and where do you see its biggest opportunities? 

I believe the Ethiopian music industry is undergoing a deep and dynamic transformation, and from my perspective, it is evolving in a very positive and promising direction. What stands out most to me about this generation is that, even as the industry becomes more modern and globally connected, there is a very intentional return to our roots. I see a strong and growing appreciation for traditional Ethiopian sounds especially the music of the 1980s and 1990s and a renewed pride in our cultural identity.

For me, what makes this moment so powerful is that artists are not simply imitating the past; they are reinterpreting it. I see musicians drawing from our traditional pentatonic scales, our unique rhythmic structures, and our storytelling heritage, and then blending those elements with contemporary genres like R&B, Afro-fusion, and modern pop production. That balance between tradition and innovation is very important, because it allows us to preserve our identity while also making our music feel fresh, relevant, and globally competitive.

At the same time, technology and digital platforms have completely reshaped the industry. Social media, especially platforms like TikTok, has opened doors for new and emerging artists in ways we have never seen before. Today, an artist does not have to rely only on traditional media or industry gatekeepers to be discovered. A single authentic moment, a short video, or a unique sound can reach millions of people instantly. Because of this, artists are now more visible, more informed, and more intentional about their careers. They are not only creating music, but also building personal brands and understanding how to communicate their identity to a wider audience.

I also see that today’s artists have a deeper awareness of their cultural responsibility. They are proud of their heritage, and at the same time, they are learning how to present it in a way that connects with international audiences without losing its authenticity. This is why I believe Ethiopian music has strong potential to expand globally. We are already seeing more collaboration with international artists, more cross-cultural projects, and more global recognition of our unique sound. And I truly believe this is just the beginning.

Another important factor, in my opinion, is the role of the audience. Ethiopian listeners are incredibly supportive, engaged, and united. They celebrate their artists, they promote their music, and they stand behind their culture with pride. That unity creates a powerful ecosystem where artists can grow and thrive. For me, this collective support is one of the biggest strengths we have as an industry.

Overall, I am very optimistic about the future. I believe that if we continue to embrace our roots while also innovating and adapting to the global music landscape, Ethiopian music will not only grow, it will stand out. I truly see a future where our sound is not just recognized internationally, but respected as a unique and influential voice in the global music scene.

Artificial intelligence is edging its way into global music production. How do you evaluate AI-generated music compared to human creativity, particularly in terms of authenticity and emotional depth?

For me, music is something deeply human. It is more than just sound it is emotion, memory, and lived experience. Behind every song, there are real people, songwriters, producers, and artists who invest not only their time and effort, but also their personal stories, their struggles, their joy, and their truth. That human experience is what gives music its authenticity and emotional depth. It is what allows listeners to connect, to feel understood, and to find meaning in a song.

AI, on the other hand, can generate music in minutes, but it cannot feel. It does not experience life, it does not understand pain or happiness, and it cannot translate real emotion in the way a human being can. Even when it produces something that sounds technically impressive, there is still a difference because it lacks the soul that comes from genuine human expression.

What concerns me even more is the growing impact of AI on opportunities for real artists. We are already seeing a shift where companies that once invested in musicians and creators are now choosing faster, cheaper alternatives through AI-generated content. This not only reduces opportunities, but it also risks devaluing the hard work, talent, and dedication that artists bring to their craft. For many creators, this is not just a profession it is a calling and seeing that replaced can be very discouraging.

Another issue I find troubling is the rise of AI-generated versions of songs gaining popularity, sometimes even surpassing the original works. To me, that raises serious questions about fairness and respect for artistic ownership. When an artist pours their heart and identity into a piece of music, it deserves recognition and protection. Seeing that work overshadowed by artificial replication can be deeply disheartening.

At the same time, I am not completely against AI. I believe it can be a powerful tool when used responsibly. It can support creativity, enhance production, and open new creative possibilities for artists. But for me, there has to be a clear boundary AI should assist, not replace. It should empower human creativity, not compete with it.

In the end, I strongly believe that real music will always come from real people. It comes from emotion, from experience, from culture, and from truth. And no matter how advanced technology becomes, I don’t believe it can ever truly replicate the depth, the soul, and the authenticity of human artistry.”

Some criticize the Ethiopian music industry for what they see as failing to live up to the golden age of icons like Tilahun Gesesse. Others argue the industry is diversifying, evolving and is creating several talented young musicians. What do you think?

I believe the older generation of Ethiopian artists was truly remarkable, and at the same time, I see the new generation growing and evolving in its own unique way. Personally, I don’t fully agree with the idea that the industry has lost its greatness. I think this generation is simply different. We are more connected to our culture, more intentional about representing it, and deeply respectful of the traditions that shaped our music.

There is a strong appreciation for the foundations laid by the legends of the past, and many of us are incorporating that respect for tradition into our music, while also experimenting and evolving to reflect our own experiences and perspectives. We are creating music that feels authentic to our roots, yet resonates with contemporary audiences both in Ethiopia and beyond.

I also see the new generation thinking bigger. We are not only creating music for local audiences, we are striving to take Ethiopian music to the international stage and represent our country with pride and excellence. It’s not about comparing the past to the present; rather, it’s about building on the foundation the legends gave us and expanding it, reaching new heights, and opening new possibilities for Ethiopian music globally.

If you want, I can combine this with her other interview answers and turn it into a fully polished feature article ready for print, with pull quotes and narrative flow.

You recently achieved major continental recognition, winning Artist of the Year at the Zikomo Africa Awards and Best African Traditional at AFRIMA. Given that Ethiopian musicians have historically had limited visibility on global stages, how do you reflect on this milestone, and what insights or advice would you share for bringing Ethiopian music to international audiences?

All of these awards truly belong to God. He is the reason I am who I am today, and I genuinely believe that every recognition and opportunity I have received comes from Him. My journey has not been without challenges, but I stayed true to myself, held onto my faith, and trusted God through every moment. To be recognized on an international level is something I could never have imagined.

When I reflect on who I was six or seven years ago, it almost feels like a dream, and I am deeply grateful for how far I have come. What makes this achievement even more special is the opportunity to represent Ethiopia. That, for me, is the greatest honor. I love my country deeply, and being able to showcase our culture, our people, and our identity on such prestigious international platforms fills me with immense pride.

I firmly believe that Ethiopian music has everything it needs to reach a global audience. Our sound is unique, our culture is rich, and we must stay true to ourselves; original and confident in who we are instead of trying to imitate others. At the same time, we should make smart use of social media and international platforms, remain open to collaborations, and continue building bridges that allow Ethiopian music to shine worldwide.

You’re known for your powerful stage presence. How do you connect with audiences during live performances, and what can you tell us about your upcoming Ethiopia tour and the artistic vision behind it?

For me, live performance is everything. I often call it my heaven. That’s the space where I feel safest, most free, and most like myself. I think that authenticity is why people connect with my performances. What they see on stage is real.

When I perform, I always remind myself to be present, to be genuine, and to give my full energy. For me, it’s never just about singing; it’s about creating a connection. I feel the audience’s energy, and they feel mine. It becomes a shared moment. I always strive to give my best not only vocally but emotionally. I want people to feel something when they watch me whether it’s joy, love, or even a sense of healing. That is what music is truly about for me.

This upcoming tour is incredibly special. While we are still finalizing details step by step, I’m very excited about what’s to come. I can’t share exact dates yet, but I can say that this tour is designed to be more than just a series of performances; it’s about creating an experience. I want every show to feel emotional, energetic, and authentic. My goal is for the audience to feel connected not just to me, but to the music and to each other.

I also want this tour to be remembered, to become part of Ethiopian music history. So far, the tour will include cities such as Addis Ababa, Gondar, Bahir Dar, Asosa, Mizan Teferi, Arba Minch, and Hawassa, with more cities to be announced. And of course, this is just the beginning. I’ll continue updating my audience with more information very soon. For me, this tour is about celebration, connection, and creating moments that people will carry with them long after the music stops.

Many young Ethiopian musicians look up to you. How do you see your role in mentoring emerging artists, and what advice would you give them about building a sustainable music career?

I see my role as a responsibility. If people look up to me, I want to lead by example not just through my music, but through my values, my work ethic, and the way I carry myself. I believe that the way I live and create can inspire others, and that’s something I take very seriously.

I always encourage young artists to be themselves, because authenticity is what truly allows people to connect with you. In today’s world, social media has made it easier than ever to share your talent and be recognized. But even with these tools, success doesn’t happen overnight. It might come in one night or it might take years. The most important thing is to believe in yourself, stay consistent, and remain patient.

At the same time, I always emphasize staying grounded. Respect your family, honor your culture, and never lose sight of where you come from. And above all, put God first. That balance between ambition, authenticity, humility, and faith is what I believe helps an artist not only grow, but also make a meaningful and lasting impact.

How do you evaluate government support for the music industry, in terms of facilitating music lessons at schools or in enforcing copyright rules to protect creativity?

To be completely honest, I don’t think the support for Ethiopian artists is enough, and I speak from my own experience. Over the past months, I’ve had the privilege of representing Ethiopia internationally traveling to countries like Tanzania, Nigeria, and Rwanda, and even receiving several awards. But throughout this journey, the level of support I expected simply wasn’t there. I reached out to various offices and organizations that I believed had a role to play in supporting artists, and while there was initial interest, there was little follow-through. Even when I shared my experiences and concerns on social media, there was no meaningful response.

Seeing how other countries invest in their music industry was eye-opening. In Nigeria, for example, there are regular panels, discussions, and structured initiatives designed to take their music to global audiences. That level of strategic support is something we urgently need for Ethiopian artists. We are working tirelessly to represent our country, not just culturally but also economically, through international platforms, yet without a strong support system, these efforts are much harder and the impact is limited.

I believe it’s crucial to recognize that the talent, dedication, and vision are already here in Ethiopia. Artists are ready and willing to put in the work to elevate our music and culture globally. What we need now is a system that stands with us, one that actively supports, nurtures, and amplifies our efforts. With the right support, Ethiopian music doesn’t just have the potential to succeed internationally, it can thrive and become a source of national pride for generations to come. We are ready to carry our country’s flag with our art; we just need the structures around us to be as committed as the artists themselves.

A policy analysis published this week by the Institute of Foreign Affairs (IFA) warns that Ethiopia is undergoing a “multi-disruption stress test,” as overlapping economic, environmental and security challenges place mounting pressure on the country’s governance systems.

The study, authored by Amran Gamachu and titled “Ethiopia’s Multi-Disruption Test: From Crisis Response to Sequential Resilience,” argues that the country is increasingly confronted with simultaneous and interconnected shocks, rather than isolated crises.

It notes that current policy responses remain largely short-term and reactive, a model the report suggests is no longer sufficient given the scale and complexity of emerging risks.

“Managing one crisis at a time is no longer sufficient,” the analysis states, emphasizing the need for an integrated and forward-looking strategy.

The report comes as Ethiopia continues to implement wide-ranging macroeconomic reforms, including exchange rate adjustments and fiscal measures aimed at stabilizing the economy and improving external balances.

While these reforms are intended to support long-term growth, the analysis cautions that they may also generate short-term economic strain, particularly for vulnerable households facing rising living costs. The study highlights the growing importance of external financial flows, noting that personal remittances accounted for 4.8 percent of GDP in 2024, according to World Bank data.

Beyond economic pressures, the report identifies climate variability and localized insecurity as critical factors intensifying the country’s vulnerability. Erratic rainfall, drought conditions and internal displacement are placing additional demands on public institutions and humanitarian systems, which the study suggests are already operating under strain.

Central to the analysis is the concept of “sequential resilience,” a governance framework designed to help institutions absorb and respond to multiple shocks over time.

The report recommends strengthening coordination across government institutions, empowering regional and local administrations, and aligning humanitarian and development responses.

It warns that failure to adopt this approach could leave the country trapped in a cycle of repeated crisis management, with each disruption undermining progress made in response to previous shocks.

“Ethiopia must move beyond addressing individual crises and prepare its institutions to manage overlapping disruptions effectively,” the report concludes.

Ethiopia is facing mounting economic pressure as a global energy shock triggered by disruptions in the Strait of Hormuz drives up fuel prices, threatens inflation, and strains the country’s already fragile external balance.

A  report released on April 1, 2026 by the United Nations Conference on Trade and Development (UNCTAD) indicates that maritime traffic through the strategic oil corridor has collapsed by 95 percent, falling from an average of 129 ships per day in late February to just six in March.

The Strait of Hormuz is a critical artery for global energy supply, and its near shutdown has sent crude oil prices sharply higher while increasing the cost of transporting fuel worldwide.

For Ethiopia, which relies heavily on imported petroleum products, the impact is immediate. Rising global oil prices are translating into higher import costs, placing additional pressure on foreign exchange reserves and widening the country’s trade deficit.

The federal government has responded by announcing a new round of fuel price adjustments. The cost of a liter of benzene has shot up by 10 Birr to 142.41, while diesel now retails for 151.39 Birr a liter.

UNCTAD warns that rising oil prices are closely linked to higher inflation, particularly in developing economies. In Ethiopia, where inflationary pressures have remained persistent, higher fuel costs are expected to feed into transport and logistics expenses, food and essential commodity prices, and overall urban cost of living.

The report also highlights growing financial risks across developing regions, including Africa. Currencies have begun to weaken against the US Dollar, while external borrowing costs are rising. African sovereign bond yields have increased to 7.61 percent, up by 0.64 percentage points since late February.

For Ethiopia, these trends could further complicate access to external financing, increase the cost of debt servicing, and limit the government’s ability to fund critical imports and development projects.

Beyond energy markets, the disruption is expected to slow global trade and economic growth. UNCTAD forecasts global GDP growth at 2.6 percent in 2026, with developing economies growing at 4.1 percent. However, the current crisis introduces downside risks, particularly for import-dependent economies.

For Ethiopia, this may translate into higher costs for imported goods, reduced competitiveness in export markets, and slower overall economic growth.

The report underscores the vulnerability of developing countries to external shocks, noting that 3.4 billion people live in nations that spend more on debt servicing than on health or education.

Such structural constraints limit the capacity of governments, including Ethiopia’s, to respond effectively to sudden global crises.

UNCTAD calls for coordinated international action, including measures to stabilize prices, provide emergency financing, and ease debt burdens for developing economies.

Each morning in the Ayat neighborhood, 13-year-old Abel wakes with a routine that once brought him closer to a dream: becoming a professional footballer. A devoted admirer of Lionel Messi, he used to spend his days training with friends, imagining a future on the world stage.

Now, he watches from the sidelines.

“I live with my mother. She works as a janitor. My father doesn’t live with us. I have two sisters,” Abel said. “We don’t have enough money.”

Until recently, Abel trained with a local youth initiative, the Habesha Teenager program. But after the neighborhood field was upgraded with artificial turf, access began to come at a cost.

“They told us to pay to use the field,” he said. “I couldn’t pay. My mother couldn’t pay. Many of my friends also couldn’t. Our coach stopped the training. Now I don’t train. I am worried. How can I become a good football player without training?”

Abel’s experience reflects a broader shift across Addis Ababa, where a surge in newly built and upgraded sports facilities — more than 1,500 in recent years — was intended to expand opportunities for young athletes. Instead, many families and coaches say, access is increasingly tied to the ability to pay.

Hundreds of Young Players, Uncertain Futures

At Belior 15 Meda, a once freely accessible community field, two grassroots coaches — Melese Geber and Elias Ibrahim — have trained hundreds of children at no cost for years. Together, they now oversee about 385 young players.

Both say they are under growing pressure from local authorities to transition to a fee-based model.

“We were told there are two types of projects — government-supported and private,” Melese said. “Private projects must pay to use the field.”

His team, Biruh Tesfa Soccer, has not been included in the government-supported category.

“If they include us, we would accept it,” he said. “But they have not given us any response. Instead, they want us to take money from children who have no ability to pay.”

For Melese, the shift undermines the purpose of the city’s investment in sports infrastructure.

“These fields were built to develop the best athletes who can represent Ethiopia,” he said. “Now poor teenagers are being asked to pay.”

He also pointed to what he described as unequal access. “Some government employees come and play for free for recreation, while the young players — the future of Ethiopian football — are expected to pay. That is not fair.”

Though fees have not yet been enforced at 15 Meda, both coaches said they have been told the policy will take effect soon, leaving them uncertain how to proceed.

Elias Ibrahim, who has led the Raey Be Belior project for more than two decades, framed the issue as both practical and legal.

“We have trained players for the national team and worked for decades without charging,” he said. “We train almost every day to develop future players. These directives discourage us.”

He added that the field’s modernization followed a public pledge to expand access to quality sports facilities, but said the current approach appears to contradict existing regulations.

“The regulation clearly states that youth and those who cannot pay should use the field for free,” he said. “What is happening now has no legal basis.”

A Policy Gap Emerges

At the center of the dispute is a disconnect between policy and practice.

Addis Ababa City’s Sports Facilities Administration Regulation No. 189/2017 guarantees free access for young people and those unable to pay. The regulation does not distinguish between “government” and “private” youth projects.

Yet officials acknowledge that such a classification is now being applied.

“The classification comes from a city cabinet directive,” said Mebratu Regasa, head of the Lemi Kura Sub-City Youth and Sports Center team.

That directive, however, appears to conflict with the standing regulation, raising questions about enforcement and legal consistency.

City officials say the fees are necessary to maintain the upgraded facilities.

“The reason for requiring payment is for field maintenance,” Mebratu said, adding that authorities would investigate any reports of overcharging.

Such concerns have already surfaced. A recreational user at Salayesh Meda reported paying 3,000 birr for one hour of field use — above the official maximum of 2,000 birr, which is supposed to include access to showers and toilets.

A visit to both Salayesh Meda and 15 Meda fields found no such facilities on site.

Officials said complaints should be formally reported for investigation.

Community Frustration

For residents around 15 Meda, the changes have altered a long-standing community space.

“We are from this neighborhood. We grew up here and maintained the field,” said Berhan Hailu, a local sports association leader. “Now even former players who are not part of a project cannot play unless they pay. This is not right.”

City leadership has previously acknowledged similar concerns, with the mayor pledging that youth trainees and people with disabilities would retain free access. How that pledge will be implemented remains unclear.

As Addis Ababa continues to expand its sports infrastructure, the situation at Belior 15 Meda underscores a broader question: whether a system designed to nurture young talent can succeed if access depends on income.

For Abel, the question is more immediate.

Standing outside the field where he once trained, he wonders what comes next — and whether his dream still has a place to grow.

A decision from regional officials in Tigray obliging civil servants and bank employees to give up a fifth of their earnings to bankroll assistance to displaced persons and other regional priorities has drawn fierce criticism from citizens who say their salaries are already being withheld.

A directive issued by the Tigray Interim Administration (TIA) compels the region’s workforce to forgo 20 percent of their monthly earnings as a form of tax that officials say will be levied over the coming four months.

The directive, framed by the administration as a necessary measure in rebuilding the war-torn region, has sparked concerns over consent, legality, and workers’ rights.

One civil servant who spoke openly about the situation said:

“What is said is true. But now, in the Tigray region, workers’ salaries have been withheld. We are not being paid. The interim administration has been unable to pay us for a long time. We are working without being paid. We have been told that 20 percent of our unpaid work will be cut without our consent. I am the head of a family and I cannot agree to it if my salary is cut. But what is the point? I have no energy. No one asked me for my consent. Life here is difficult; we are struggling to survive.”

He called on the federal government to intervene.

Another public employee, a widow raising four children who spoke anonymously, expressed her frustration.

“I live in chaos. My husband died in the war. I am now a civil servant, but with this newly imposed 20 percent deduction on my salary, it is impossible to survive. I cannot feed my children and pay for basic needs. This tax is crushing families like mine,” she told The Reporter.

Efforts to reach TIA officials for comment were unsuccessful.

However, legal experts point out that the Labor Proclamation grants citizens protection from taxation without consent.

They observe the salary deduction in Tigray illustrates the delicate balance between urgent regional needs and the protection of workers’ rights. While authorities frame the measure as a temporary solution for displaced persons and fiscal shortfalls, it raises serious legal, economic, and social concerns.

Civil servants and bank employees, already struggling with unpaid wages, are being asked to bear a burden without consent, highlighting a gap in governance and labor protections. Experts say the move could violate Ethiopia’s labor law, undermine employee morale, and deepen financial hardship for vulnerable households.