Conclusion
“He Has a Lot on His Mind” maintains a tradition of royal court performance despite lacking explicit references to Kiganda court life or monarchical politics. The song is an indirect commentary on the evolution of kingship, functioning as a subtle political instrument that uses its seemingly apolitical lyrics to create a space for comparative reflection between historical and contemporary governance structures. Through “He Has a Lot on His Mind,” Kabwama establishes a framework for examining how the institution of Kiganda monarchy has been transformed under Uganda’s national government without requiring explicit criticism. In addition to affirming the singer’s status and illustrating the role of royal court musicians in looking after the well-being of the king during particularly stressful times, “He Has a Lot on His Mind” addresses the differences between the politics of the king and those of the national government. It appears to criticize the electoral politics of the latter as a form that has “progressed” into “animosity,” juxtaposing it with the kingship’s redemptive, intimate, and mutual tendencies. However, the added commentaries, both from the song’s performer and interpreters, recast its message to articulate far more than that.
Some interpreters understand the lyrics as a recognition of the king’s thoughtfulness, while others read the song as a demonstration of all the stressors that contemporary politicians face, which consequently undermine their leadership. Through these competing interpretations, we see new ways to understand the song that extend from those previously imagined framings. The result is the constant revival of the composition through the extensive imaginations of those who encounter it. Each interpretation reflects a major shift in the song’s meaning, its expression, and its philosophy, functioning as a celebration of the fertility that its text represents. It becomes immortal, preserved not in the static and frozen sense that we come to expect but in a living sense, constantly becoming new with every interpretative moment. These interpretations of “He Has a Lot on His Mind” demonstrate how court music can evolve beyond its original ceremonial function to become a vehicle for nuanced national political discourse. This process allows performers to address sensitive governance transitions through artistic expression rather than direct commentary.