ONE ON ONE: Nameless

With almost two decades in the Kenyan music industry, David Mathenge, popularly known as Nameless, still manages to attract new fans as he keeps the old. He talks to KAREN MURIUKI on how long he has to go before hanging the mic

Why haven’t you stuck to the Sinzia type music since it was a hit back then?

For the same reason: that was back in the day. Music hits because of different times and different vibes. You can’t really use the same formula you used 10 years ago now. One has to change, but change in itself is tricky. One has to change in the right direction. It’s a continuous search, for me at least. I try to connect with my new audience as much as I do with the older audience. There are still some elements of my music from back then that have remained.

Do you feel like you’re competing with the young artistes who are in the music industry at the moment?

It’s an interesting balance for me, because part of me feels that way, and another part of me feels that I am at a different stage in my career and not really competing for space with the kids. The younger artistes have different challenges as compared to how it was for us back in the day. For us, it was the challenge of inventing and twisting music, but for the younger ones, the challenge is mostly making a name for themselves in the industry. At times I ask myself if I am as aggressive as I should be because I feel as if I am not for my age. At the same time, if I should enter the frame of being aggressive, you know.

Why don’t you switch up your dance styles when doing live performances?

Had some styles for years!There are some routines that are linked to a certain song. Juju, for example, has its dance, so if I include it in my set, the person watching wants to be reminded of that specific dance. It’s a topic we have debated on for a long time. We change routines, at times, but I feel like what really needs to change is the production of the show, depending on budgets and all.

Isn’t it about time you had a collaboration or music tour with Wahu?

It’s actually in the works. It will be happening soon. We are in and out of studio trying to get the right things done. It was not in the plan initially. We had decided to keep our work separate because we are different artistes.

Do you have plans of retiring from performance and going behind the scenes in music production?

At some point, yes. I have actually slowed down on my work, if you have noticed. There is one major project I am trying to finalise and it will help me make my decision.

Are you mentoring anyone at the moment?

I talk to other artistes, as well as help out by giving advice and direction. I do not have a record label simply because it is not my thing as it is to others. I am more of just helping out by giving artistes equipment to reduce their costs.

What’s your secret to longevity in the music industry?

There’s really no secret, I try to get my vibe from the market. Helps to have the right attitude towards the craft and showbiz and this has really helped me. Some of the moves I make are simply out of intuition because I did not study music. I have hits and misses. I also value feedback, a lot. I feel that the mistake most artistes do is ignore feedback.

What is your view on the artistes who are coming up compared to how it was when you were coming up?

Every generation has its own talented crop of artistes. The only different feeling I have is on the guidance of their talents. I think that there could be better guidance, like we had. There were stronger labels and producers who gave more consistent help. People are too independent these days. There is no strong, revolutionary vibe or sound that excites us as a nation; which is why we turn to Nigerian music or Tanzanian music.

Is it harder or easier to become a star today, as compared to the early 2000s?

I think it’s much harder today. For us, we had to prove that there really was something like good Kenyan music, of which mean good music that can compete with other countries. Now, the fans are so exposed to the Kenyan music that the benchmark is really high for the upcoming artistes. One needs to put in a lot of work today to produce good music.

On that note, who are your favourite artistes?

Locally, Nyashinski is a real deal. There is also Sauti Sol, Khaligraph Jones and King Kaka. Internationally, I respect the old artistes who are still in the game. I respect Wizkid, Ali Kiba, and Diamond Platnumz.

Who would win if there was a competition between the new artistes  and the wazees like you guys?

Us, of course. First of all, I have to believe in our team. But honestly speaking, that would be a hard question to answer because it really depends on the audience.

What brings in more money for you?

Architecture or music?I am still more of a musician than I am an architect. I do architecture mostly to keep abreast with that area so that if I am to retire, I would still be up to date. Music is still my primary source of income.

How do you balance out work and family?

The same way everyone else with a family does. If it is time for work, its work; and vice versa. There is more scrutiny for us, especially, being in the limelight, in terms of how we raise our kids. We therefore strengthen their characters to handle the scrutiny. There are also things that I used to do before that I cannot do today. For example, I could go on tour for even three months. The maximum is two weeks, these days. I do not like staying away from the kids. I want to be there for them.

Does any of your kids show any interests in doing music?

Tumiso is a very good song writer, to a point of surprising me. She likes performing and dancing. We encourage her. Nyakio, on the other hand, is still young. She dances around mostly.

Would you like them to follow the music path?

I would really like them to follow their passion. Something they really love, not just about the money. I teach them that if one is passionate at what they do, they will be successful.