Since early 2025, rumors swirled around the fallout between artists Ross Kana, Kenny Sol, and Producer Element with the management of 1:55 AM music label.
1:55 AM director Kenny Mugarura tried to dispel concerns at the time, telling the media there was no issue and that they were collaborating on exciting new projects.
However, these claims unraveled when Ross Kana released a statement on May 4, 2025, confirming his split from the label after more than a year of internal disputes.
The beginning of creative fallout
In an interview with Radio Rwanda, Ross Kana revealed frustrations started when 1:55 AM’s management reduced its commitment to his music projects. Tensions heightened during plans to shoot the video for “Mami” as the management delayed progress repeatedly.
The disputes evoked memories of his seven-year contract signed after the release of his video for "Sesa."
Ross shared, “The contract was signed, but the management system never evolved. They didn’t understand how to meet every artist’s needs within the label. That misalignment ultimately led to my exit.”
During the back-and-forth process, Ross Kana explained “Mami” evolved from another track, “Milele,” which was later finalized and released by Producer Element.
“Element revisited 'Milele,' eventually reaching 'Mami.' I connected deeply with its melody. While 'Milele' was released, Coach Gael rallied support amidst heated challenges,” said Ross Kana.
When Ross Kana submitted all requirements for “Mami”’s video production, management discovered it would need a budget of 13 million Rwf. Kenny Mugarura declined, proposing just 5 million Rwf as funding. Ross proposed compromising at 8 million Rwf—which also failed.
Ross explained, “I suggested producing a high-quality video, but Kenny asked me to outline every item needed and the team support required. For me, the issue wasn’t money—it was the lack of clear communication from management.”
Frustration finally pushed Ross Kana to take matters into his own hands, producing “Mami” independently in Nairobi, Kenya, for the full cost of 13 million Rwf.
“Discussing middle ground would’ve made things manageable, but Kenny said it wasn’t feasible, citing budget constraints,” Ross recounted.
Ross Kana also revealed issues in recovering expenses from Kenny Mugarura later-on.
He shared moments where repeated calls to Kenny Mugarura about production went unanswered, only to see him supporting another artist at the airport.
Ross referred to the proposed budget as “a compromise missed,” adding, “Producing videos within 8–10 million Rwf transforms an artist’s career. Yet, they decided to relay an offer of just 5 million.”
Contracts under 1:55 AM stipulated producing a minimum of five Ross Kana songs with budgets ranging from 4,000 to 5,000 USD each. However, Ross proceeded to shoot “Mami” solo in Nairobi.
When Kenny Mugarura texted him asking if late funding could help, Ross responded, “The funds wouldn’t help anymore—I already paid for flights and was setting up with the video’s director.”
In Kenya, Ross notified Coach Gael about his solo decision. “I told Coach I couldn’t rely on the team anymore, so I moved ahead on my own project.”
Despite personal financial strain, Ross celebrated strong reception of “Mami”—proving his decision to pursue his musical vision uncompromisingly.
Back in Kigali, Ross confronted Coach Gael with video footage, hoping to reset conversations around collaborative management.
Trials of independence
To retain branding rights for “Mami,” 1:55 AM extended an additional 6 million Rwf offer to Ross Kana, indicating an effort to mend relations.
Conflict resurfaced during preparations for his next track “Molela,” where Ross funded Element independently for production. He observed lukewarm engagement from label management on the project.
“I finished ‘Molela’ and brought it to my boss, but the energy felt indifferent,” Ross remarked.
Reflecting on relations overall, Ross remained grateful. “They’re not bad people, but management often asks if budget constraints allow risk-taking, rather than understanding creative direction clearly,” he said.
Struggles for video support persisted across tracks like “Molela,” pushing Ross toward final independence.
He added, “Joining their family was one thing, but sometimes families hinder artistic possibilities. I hadn’t expected facing similar hurdles with ‘Molela.’”
Ultimately, after releasing statements about leaving, Ross Kana surprised 1:55 AM’s leadership by underscoring creative misalignment as the basis for departure.
His planned production budget for "Molela" ranged between 8 million and 10 million Rwf, stating: “I realized their management shift had evolved beyond fostering artistry.”
Defining his legacy
Management statements favoring Bruce Melodie as the label’s top contributor—alongside dismissive remarks about artists wanting to leave—pushed Ross Kana into decisive action.
Ross confirmed rumors that they had even drafted his termination letter, marking a formal move to redefine his artistic journey.
Reflecting, Ross said, “Contracts may outline clear minimum budgets for creative projects, but I found label priorities skewed toward cost savings more than artistry.”
Ross emphasized 1:55 AM approached decisions as businessmen more than music producers.
Before joining, Rubangura David—Ross Kana’s original name—gained recognition with his song “Selection.” His transition name was thoughtfully developed by Coach Gael, who associated “Kana” with the meaningful word “powerful.”
“Coach Gael envisioned ‘Kana’,” Ross reflected. “Element proposed ‘Ross,’ and together we formed my full name.” Ross revealed his gratitude, declaring their contributions led to securing a powerful stage reputation.
That same evening—with his independent role clear—Ross updated all social accounts to showcase the Ross Kana name.
Leaving 1:55 AM enabled Ross to visualize better prospects for tracks like “Molela.”
Ross concluded, “‘Molela’ represents the strength of resources I dedicated fully—symbolizing fresh success.”
Ross mentioned conversations revived minimally with management during Kenya production phases.