In Uganda’s vibrant and rapidly evolving creative economy, Simon Bill Clinton Matovu, 27, embodies a new archetype: the polymath professional. Far from being confined to a single role, he has strategically built a portfolio career that blends artistic vision with logistical acumen. As a content creator, model, stage producer, videographer, and marketing manager, Matovu represents a generation leveraging diverse skills to build sustainable careers in the arts.
His production credits—including the Baby & Kids Expo, Northern Uganda Fashion Week, and the Art In Me festival—are not just events; they are case studies in executing complex, multi-stakeholder projects within Uganda’s specific logistical and cultural context. Quick Talk met with this dynamic force at Mambo restaurant, one of the many brands he helps steer.
Good afternoon, Bill. It’s a pleasure to connect with someone operating at the intersection of so many disciplines.
The pleasure is mine, Quick Talk… though I must admit, based on your WhatsApp profile picture, I expected a lady!
[Laughs] A common misconception. Let’s delve into your unique journey. You carry a globally recognized name.
I am Simon Bill Clinton Matovu. The name is a historical timestamp. Former U.S. President Bill Clinton visited Uganda in 1998, the year I was born. It became a popular namesake for children of that period, linking my personal story to a moment in the nation’s diplomatic history.
Your academic background in Public Administration and Resource Governance from Kyambogo University seems a world away from content creation. What catalyzed this pivot?
It appears divergent, but the core skills—organization, governance, and managing resources—are directly transferable to producing large-scale events and running a media business. The formal pivot point was a certificate from Douglas Lwanga’s Purple Skills Klinic in Content Creation and Production. However, the bridge was modelling. My work as a model led to Purple Skills Klinic seeking a face for their school. That opportunity yielded a bursary, and I chose to deep-dive into videography and production, formally layering technical craft onto my existing industry presence.
Speaking of modelling, your entry wasn’t conventional.
True. In 2020, I pursued a passion and auditioned for German Model Management. I didn’t meet the specific physical criteria for the runway, but instead of a closed door, I was offered a critical backstage role. That decision to accept the ‘plan B’ opportunity was foundational. Working behind the scenes under a mentor, Mr. Jerome, I absorbed the entire architecture of a show—lighting, sound, model coordination, client management. It was an immersive education in production, proving that the most valuable vantage point isn’t always center stage.
You now lead productions. What’s the greatest challenge in producing an event like the Northern Uganda Fashion Week?
Beyond the obvious—budget, timelines, talent—the greatest challenge is often synchronicity. You are the conductor of an orchestra where each section (designers, models, sponsors, vendors, venue staff) operates on its own tempo. The producer’s job is to align these disparate elements into a seamless experience that meets artistic vision, commercial expectations, and audience engagement. It’s applied Public Administration on a fast-paced, creative platform.
Your content creation work for brands like Mambo Restaurant and Westior Salon is another pillar. How do you approach translating a brand’s essence into content?
It begins with diagnostic conversations: What is the brand’s personality? Who is its community? Is it bold and vibrant like Mambo, or sleek and precise like a high-end salon? The content must be an authentic extension of their identity, not a generic template. For a restaurant, it might be about capturing the energy of a shared meal; for a textile designer like Joyce Ssonko, it’s about highlighting the texture, color, and story in the fabric. The videography skills from Purple Klinic give me the tools, but the strategy comes from understanding the brand as a marketing manager would.
Juggling a corporate logistics job, production, content shoots, and a personal life seems impossible. What’s your operational secret?
The secret is delegation and systems. I have an excellent manager, Nina, who handles scheduling, client liaison, and logistics—freeing me to focus on creative direction and execution. My day is a study in compartmentalization: corporate logistics in the early hours, creative shoots and production meetings in the afternoon, and editing late into the night. It’s demanding, sleeping around 2 am most nights, but each role informs the other. The precision of logistics management sharpens my event planning, and the creativity fuels innovative problem-solving in my corporate work.
What is the most significant hurdle facing creatives in Uganda’s industry today?
The pervasive issue is a lack of professional valuation. Some clients still view creative work as a casual favor rather than a skilled, time-intensive service with tangible business outcomes. This makes pricing and contract adherence challenging. However, the counterbalance is immense: the industry is a powerful networking engine. The exposure and connections I’ve gained—meeting people and accessing spaces I once couldn’t imagine—are invaluable currency. The key is persistently educating the market on the value we bring.
You’ve founded Vibrant Media. What’s the vision for this venture?
Vibrant Media is the synthesis of all my threads. The vision is to build a premier hub for integrated creative production—a one-stop shop for videography, photography, event production, and brand content strategy. I’ve learned from the best, and now I aim to create a platform that elevates Ugandan and African storytelling on a grand scale. I see myself not just as a producer of shows, but as a builder of ecosystems that empower other creatives.
How do you recharge from this relentless pace?
My free time is deliberately quiet. After being “on” constantly, I crave being indoors. I’m an avid Netflix viewer, but even leisure is a form of study. I critically watch major productions like the BET Awards, deconstructing their stage design, camera work, and flow. It’s passive relaxation with an active, professional eye, always looking for ideas to adapt and innovate within our own context.
devonssuubi@gmail.com