Mejja – Siku Hizi Ni Kubad
serpentwithfeet – Heart Storm (with NAO)
Mejja – Siku Hizi Ni Kubad
serpentwithfeet – Heart Storm (with NAO)
If you are new here, click here first.
I don’t remember how I found this song by JIVU (I am referencing Struggle) but my goodness I love it so much. I think it is such an excellent piece of music.
So imagine how I felt when I saw I was late to noticing that they had dropped a project in AUGUST WTF!! (insert squeals here).
And I won’t lie to you guys, I’ve listened to it this whole week. Over and over.
Struggle remains a stand out track for me. But let me shout out “Watasema (Hayawi Hayawi)” and “Nakupenda Bado” and “Amsterdam and Helen“
I posted on Instagram and I got some responses which, I mean – if you listen to the project you will hear for yourself.
And that’s that on that folks.
Listen to Hayawi Hayawi on all streaming platforms.
the activity of controlling, and usually limiting, general access to something.
Before I begin, let me say that I am aware that gatekeeping is not unique to Kenya so if this is your contribution to this topic, spare me. Secondly, gatekeeping exists in a myriad of spaces, from politics, to the lit world, to TV etc – I am going to be talking about music specifically.
Now onto the matter:
Late last year/ early this year, the issue of Play Kenyan Music (#PlayKEMusic) gained momentum, fueled by remarks by DJ Pinye stating that DJs shouldn’t play “mediocre music“. This issue is primarily about urban Kenyan music. Now, for someone with this platform, access to radio and TV, to subjectively make these statements while not applying the same metrics to music from other countries is absurd in my opinion. We must accept that he (and others) are industry gatekeepers. A problem.
Have you been watching Cleaning the Airwaves on YouTube? I mean, if you listen to the subtext in some of these interviews, you would see that this issue has been around for a long time.
This isn’t the first time we have talked about the issue of playing Kenyan music and why radio/TV doesn’t give it priority. From the days of Kalamashaka – the issue of gatekeeping has arisen, we look back with rose coloured glasses on how good their music used to be. However, at their peak – their music wasn’t on radio and a quick Google search will show that this was the case. I remember Hardstone in an interview talking about how his career was railroaded by DJ Pinye.
(click here to listen: https://www.facebook.com/GidiOGidi/videos/10156358086478896/)
If you’ve watched any music documentary or read music history, the issue of DJs, radio presenters, industry heads gatekeeping isn’t new. I think what makes it even more difficult for Kenyan artists is the lack of an organised industry and the fact that certain personalities have their foot in every aspect of the industry. They own record labels, are event promoters, have contracts with the largest companies, are producers, have ownership in radio stations – In such a case, having gatekeepers arbitrarily decide what makes the cut or not, coupled with a populace that likes being spoonfed and rampant corruption within ALL systems that are meant to work for the benefit of artists – we encounter a situation where breaking into the mainstream urban market is dependent on factors beyond the actual music being made. In the case of Ethic and their viral hit Lamba Lolo – it was the virality of that song that led them to being the force they are now. We (you who is reading this and I) know that they would never have gotten radio play if that video did not become the viral hit.
Urban radio presenters and other media personalities do not need to go to other countries to find that they play their own music (Nigeria, SA etc.) as was being discussed at the time. This is a non-issue in this era of social media. They are well aware that this is the case, yet are either drunk on some power trip or they don’t care about the music industry. Simple.
Gatekeeping goes beyond radio presenters et al. It also includes established industry insiders spreading false stories about musicians/artists – and these words being taken at face value. That is another form of gatekeeping rampant in the 254. Because of their standing in the industry, if an old head producer for example says that a certain musician doesn’t do XYZ, even if this is false, it is taken as the truth – closing out that person to opportunities that they would otherwise go their way. I don’t understand why this happens but I have heard of this happening a couple of times and it fills me with a rage I cannot express in words. What is the motivation my guy?
Something else I’ve noticed and quite frankly perturbs me is lack of visible mentorship – in essence protégés. You know how you see western artists have people in their roster that they mentor and “show them the ropes” of the industry. Does that happen here? I just don’t know? (outside of Sauti Sol who frankly can be considered “new” and I respect them for this particular thing).
By the way, I know many will say that with the advent of social media, musicians don’t need radio/DJs/Promoters etc but you know this is simplistic thinking. We should firstly, have systems that work and also want the systems to work. Industry insiders should also strive to ensure they aren’t being stumbling blocks to the growth of the industry by perpetuating nonsense miaka nenda, miaka rudi.
Ayrosh did the damn thing on Friday, you hear me? The Murasta EP Launch is so far the best thing I have attended this year. WOW. I wasn’t even sure I was going to write about it because WHAT ARE WORDS? I don’t know if I can fully describe what it was to be there. To experience what we experienced.
And let me just give props to the band, Tha Movement. They are so talented honestly. I am in awe. They deserve it all. ALL!!!
Listen to Murasta on all streaming sites. Support the fave.
On Saturday we went to watch Lwanda Rockman at Kenya Cultural Center. I loved it so much. If you are reading this before the weekend please go watch it. Search for tickets here.
This past weekend was absolutely glorious!!! Play Kenyan Music. Support Kenyan Art. Drink Kenyan Alcohol.
Karun – Glow Up (THIS SONG IS SO GOOD!)
Yanga ft. Soweto Gospel Choir and Amanda Black – Promised Land
Corinne Bailey Rae – Do You Ever Think of Me
Todrick – Nails, Hair, Hips, Heels
Chris Kaiga – ZIMENICE ft. Tezzla
Tellaman, Shekhinah, Nasty C – Whipped
In case you missed last week’s post, click here.
Anyway, in today’s post.
Mahalia – Grateful
Mpho Sebina – Tjuele ft. A.T.I
Serro – Ya Dunia
This is a special listing because it features only one artist. This week, one of my faves announced that he is releasing an EP in June and I could not be more excited. I think his vocals are absolutely stellar, his music enjoyable, fun, vibey and I’ve mentioned him on this blog and on the podcast a couple of times. He has my support and I cannot wait to listen to the new stuff.
Anyway, some songs:
Ayrosh – Love, Respect, Repeat
Ayrosh – Shuga Mami
Ayrosh/Kwame Rigii- Guuku
Ayrosh – Commoni
Ayrosh – Maheni
Buy a ticket to his EP Launch by clicking here.
Lisa Fischer – How Can I Ease The Pain
Xenia Mannaseh – Niambie
Amber Mark – Mixer
LION BABE – Western World ft. Raekwon
Adekunle Gold – Before You Wake Up
Solange – Things I Imagined / Down with the Clique
Hamzaa – Breathing Pt. 2 feat. Wretch 32 & Ghetts
Naomi Wachira – Beautifully Human
I am doing well with the weekly thing. I know it is only the second week, don’t kill my vibe.
Ukweli ft Karun – Roses
Ayrosh – Commoni (Video came out this week, get into it.)
Nao – Orbit / Saturn
Micko Migra – Stop the Yapping
Rhian Benson – Say How I Feel