Eric Ngabo Reagan, has spent years navigating the challenges and opportunities of making music abroad, particularly in Finland, northern part of Europe.
Born and raised in Nyagatare District, in Rwanda’s Eastern Province, Ngabo was immersed in Christian teachings from an early age.
His musical journey began in 2006 when he joined his church choir. He later transitioned to a solo career, with his music gaining airplay on both Rwandan and Ugandan radio stations, especially in Western Uganda, including Ankole, Kabale, and Vision, among others. Eventually, they established a community radio station in Nyagatare, Radio Rwanda.
“An example of my song, “Abiringiye Uwiteka”, is among the tracks that received power play on various Uganda’s radio stations and is one of my earlier releases,” he said during an interview with Kigali Journal.
“In 2016, I relocated to Finland, a move that presented both new opportunities and significant challenges for my career. I encountered a completely different musical landscape, particularly in terms of market accessibility and the dominance of white-owned studios,” he added.
Ngabo explained that recording in Finland proved costly, not only because of expensive studio rates but also due to the unfamiliarity of local producers with Afro-fusion genres.
“This forced me to send recordings back to Africa for mastering, an approach that significantly increased costs and delayed releases,” he said.
Despite these hurdles, Ngabo remains a versatile artist, producing music across multiple genres, including Rhumba, Reggae, R&B, and his signature Gakondo style. His ability to perform in different languages has allowed him to connect with a diverse audience.
“Finland, is a home to a growing population of Africans especially Nigerians, Kenyans, and Rwandans has provided me with a platform to showcase my music, though sustaining a career there is not easy,” he said.
“Working in white-owned studios is a big challenge because they have multiple specialists; guitarists, pianists, saxophonists, and backup singers—unlike in Rwanda, and elsewhere in Africa where a single producer can handle all aspects of music production. They can’t record live,” he added.
He explains that the cost of producing a song can rise significantly, from around $1,000 to $3,000 or even $4,000, depending on the location. He highlights that, due to the expenses of hiring various professionals, music production is generally more affordable in Africa compared to developed countries.
“This is especially challenging for an upcoming artist, as you have to handle both tasks. It shows just how difficult it is. As a result, it remains a major challenge that most of us fail to overcome. Continuing music as a business is nearly impossible due to the costs involved, so we do it mainly to spread good news,” he revealed.
The Amashimwe singer also pointed out that most of those white-owned studios produce electronic music, making it nearly impossible to find a full band and backup singers. Despite the different styles, the challenges remain the same, which continues to inspire his perseverance and dedication to music.
Ngabo has remained committed to spreading the gospel through his music, as seen in his recent song, “My Lord”. This track, which will be part of his upcoming album, is a multilingual masterpiece performed in Luganda, Ankole, English, and Kinyarwanda.
His goal is to reach a broader audience beyond Rwanda and Uganda, incorporating Swahili to appeal to the entire East African region.
Reflecting on his linguistic versatility, Ngabo shares, “Apart from being born in Eastern Rwanda, I spent a lot of time in Kampala and Mbalala, which helped me learn Ugandan languages. That’s why I can easily sing in them. The message we spread through gospel music should not be confined to one community. That’s why I also sing in Swahili to reach more people,” he added.
Ngabo also claims to have been one of the first Rwandan gospel artists to embrace multilingualism in his music, even before well-known figures like Israel Mbonyi, currently the face of Rwanda’s gospel scene.
He believes this approach has contributed to the growth of gospel music across borders.
“I wasn’t always consistent, but I was among the first to think of singing in different languages so that everyone could find meaning in the music. Now, gospel music is more open, and people are embracing it in different languages.”
The singer is dedicating more time to his music, with a clear vision for his evangelism to reach a larger audience.
He acknowledges the challenges faced by artists in the diaspora and emphasizes the need for stronger connections between artists abroad and those in Rwanda to create a seamless music industry that benefits both. According to him, this can bridge the gap and win the double market.
“For example, award organizers in Rwanda rarely consider artists from the diaspora. Inclusion should extend to the diaspora as well, but currently, we lack such opportunities, resulting in limited visibility. We should be included and benefit from these platforms, just like local artists who have easier access. This needs to change so that our message can also reach everyone,” he urged.
His growing discography includes songs such as Amashimwe, Wewe Ni Mungu, Impamvu ft. Emmy Vox, Ibuka, Duhinduke and more. As he continues to bridge the gap between cultures and continents through gospel music, Ngabo remains steadfast in his calling—to spread the good news through music that transcends borders.
He added that he is planning to stage a concert in Rwanda, collaborate with more artists, and produce more audio-visual recordings, emphasizing that he has no intention of slowing down.