Big Eye Starboss Urges Fairness – Good Music Deserves Airplay Without Payoffs

Big Eye Starboss weighs in on Uganda’s pay-for-play controversy, saying artists can tip supportive DJs and presenters as appreciation, but refusing to play good music over unpaid bribes is wrong and harms emerging talent.

Ugandan music star Big Eye Starboss has entered the heated conversation about pay-for-play practices in the local entertainment scene, offering a balanced yet firm perspective on how artists, DJs, and radio personalities should interact.

Known for his hit “Indicator,” Big Eye made it clear he sees no problem with genuine gestures of gratitude. “It’s actually positive when an artist shows appreciation—whether through a tip, a shout-out, or something small—to a presenter, music director, or DJ who consistently supports their work,” he explained. “That kind of relationship-building is part of the game and helps everyone grow.”

However, he drew a sharp line against exploitation. “What crosses into wrong territory is when airplay is deliberately withheld from a quality song just because the artist didn’t pay up,” Big Eye stressed. “If the track is good and deserves rotation, it should get played. Holding music hostage for money kills creativity and blocks new voices from reaching listeners.”

His remarks arrive at a time when many up-and-coming musicians continue to voice frustration over what they describe as an unspoken “pay-to-play” culture.

Rising talents frequently claim that certain radio and TV personalities—along with some established industry figures—expect cash incentives, airtime sponsorships, or other financial perks before giving exposure to fresh releases. Those without deep pockets or connections, they argue, are systematically sidelined, no matter how strong their music may be.

Big Eye’s position seeks to separate healthy industry etiquette from outright gatekeeping. He acknowledges that the music business runs on relationships and mutual support, but insists that professional standards must prevail. Merit, song quality, and audience appeal, he believes, should ultimately determine what gets played—not who can afford the highest “appreciation fee.”