by Shishi Wanj

When you think about Kenyan music, what comes to mind? Is it Benga, Kapuka, Gengetone, or alternative music? With the capital city of Nairobi as a melting pot, there’s been a lot of cultural influences not only from its diverse 42 tribes but also from the Western world.

The 1960s-80s

Kenya’s music scene was very vibrant from the 60s to the 80s due to the emergence of Benga music. The once-popular genre evolved between the 1940s and 1960s and was played in the stylistic ways of the Luo Nyatiti merged with influences like the Kamba guitar and Cuban music. In the 2017 book, Shades of Benga, authors Bill Odidi and Tabu Osusa explain that the genre originated at the end of World War 2 when soldiers sought to entertain one another by merging sounds from around the world with local music. Amongst them was Fundi Konde, who is regarded as Kenya's first famous musician and electronic guitarist in an era of Cuban music's vast popularity. 

Government-owned TV and radio stations like Voice of Kenya (now known as Kenya Broadcasting Corporation or KBC) played a formidable role in propelling the genre across the country with English, Kiswahili and Regional channels. While the English channels primarily played Twist and other urban music genres, the Kiswahili channels played genres like Rhumba, and the Regional played allocated vernacular music. People in the rural areas were sceptical at first, but because of its guitar rock elements, arrangements and relatable lyrics, they became more likened to it. This led to the massive success of Benga music across the country, East Africa and eventually the world, thus birthing the first and only cohesive Kenyan sound. By the 80s, the genre's impact continued to take precedence with renowned band, Them Mushrooms, whose songs like the hit, "Jambo Bwana", fused Taarab, Benga, Chakacha and Reggae. The artists were known to have inspired "Hakuna Matata" off Disney's original feature animation, The Lion King.

Kenyan music did, however, experience a lapse in concession due to different factors. One such is mainstream media's reluctance to engage with politically charged tracks like Senga Senga Band's "Baba Otongolo" and "Budget Ya Nyumba" by banning them on major TV and radio stations. And by the time the 90s rolled around, how we perceived our culture completely shifted. Our vernacular got banned on radio and TV. Our local food and modes of dressing became looked down upon in favour of Western perceptions.

The 90s to Early 2000s

Western hip-hop began controlling the Kenyan airwaves in the late 80s to early 90s, inspiring young Kenyans to make hip-hop records in Kiswahili, Sheng (Kenyan Slang) and English. One of the first major hits was the 1990s "Renaissance" by then-teenager Ricky Oyaro. The rapper and producer sparked a hip-hop revolution that influenced the rise of other artists like Jimmy Gathu. The KBC created, Mizizi, a show which provided a platform for aspiring rappers and hip-hop enthusiasts to express themselves through rap music.

Further into the 90s, Kalamashaka (Kama, Vigeti and Otero), K South (Abbas Kubaff and Bamboo) and Proxi Presha stepped onto the scene with culture-defining hip-hop songs. These were "Tafsiri Hii", "Nyabaga Kodo Gakwa", and ‘Dhako Kelo’ respectively. It was, however, not until Hardstone's "Uhiki" that the hip-hop scene experienced its first commercial hit. By the end of the decade and into the new millennium, "Ting Badi Malo" and "Unbwogable" by Gidi Gidi Maji Maji had solidified the genre in the country. Fondly regarded as Kenya’s Wu-Tang Clan, Ukoo Flani Mau Mau went on to curtain raise for international acts such as Coolio and Lost Boyz and made music with Dead Prez. These artists explored socially conscious themes like police brutality, extreme poverty, and sexual violence under the tenure of former president Daniel Arap Moi. 

As hip-hop continued to receive notoriety in the country, it generated more laidback sub-genres known as genge (by Calif Records) and kapuka (also known as Boomba by Ogopa Deejayz). Notable women emcees like Nazizi (also known as the first lady of HipHop and member of the duo, Necessary Noize), Lady S, Ratatat, Choku, Amani, Wahu, Tattu, and Sheila Mwanigah emerged. Not long after, bands and music groups expanded their tastes to r&b, dancehall and pop music. Though the hit song "Leta Wimbo" by the trio, SEMA promised a new pop era that never came to fruition, it remains influential to today’s artists. Known as Kenya’s Golden Age of Urban Music, It had a massive reach and was enjoyed by people of all ages and backgrounds.

THE 2010s

Towards the end of the early 2000s, the local mainstream began fizzling out again in favour of Western music. However, artists who would come to define the 2010s were making their slow come up. P-Unit, Sauti Sol and Camp Mulla dominated the airwaves in what I call the music group era.

While the later years of the 2010s saw a shift in favour of West African and South African music, the Kenyan underground, dubbed Nu Nairobi, began taking shape. 

A NEW ERA 

Mainstream Kenyan music through the underground and alternative scene, has evolved and become more diverse. Perhaps 2020's global pandemic aided the need for innovation. Genge evolved into gengetone. AfroPop, drill, electronic and house music, amapiano, and r&b, seethed their way into the country. Noteworthy rising artists include Karun, Xenia Manasseh, Bensoul, Nviiri, Boutross, Maya Amolo Burukyln Boyz, Wakadinali, Maandy and more. 

When you listen closely to the most popular songs from Kenya in the last two years, you can still hear the Benga, the genge and the kapuka fused into the new and assimilated genres. Perhaps we have learnt to harness these sounds instead of just copying them. One thing is certain, Kenya is about to make a permanent mark on the globe.