Has Kenya ditched her own?

Our entertainment scene has been buzzing, as top international acts make their way in and out of the country in close succession, while performing. Have our local acts been wanting or is the preference of Kenyans changing? Does this drift affect the popularity of our local content or its consumption? GEORGE D. MWENDWA finds out.

International acts have found an open and favourable ground for their music in Kenya, if we are to go with the latest trend of such coming into the country for a ready market and packed shows.

This international artistes’ spark, that was ignited by Chris Brown, has continued to crescendo. More top acts are making their way into, what has lately been deemed, one of the most fertile fields for music in Africa.

Just to touch on Chris Brown’s visit in retrospect, he earned Sh1 million for each of the 90 minutes he was on stage! That aside, it has been believed that Kenyans eye international music more than they enjoy their own tunes. A faction is, however, of a different opinion – that Kenyans just enjoy diversity in music.

According to Gbenna Maina, artiste manager and CEO of Kingbiz Inc, the Kenyan ground has continually proved to be a sort-after one by international acts. Some event organisers, catching up with the building momentum, constantly invite talent from outside and leave our equally talented stars to act as curtain raisers.

“It undermines our local artistes and ends up demoralising them,” he states.

When Harmonize collaborated with Willy Paul on a mellowed tune dubbed "Pilipili", the Kenyan blogosphere went into a meltdown after Harmonize released "Kwangwaru" (featuring Diamond Platnumz) days later. This was perceived as sabotage of the "Pilipili" collaboration (he was expected to push it further before he could release his own). Kenyans did what they do best, took to social media to condemn the stunt, urging Kenyans to support their own since international acts had decided to act callous.

AIRPLAY

Before the dust could settle, Bahati faced his own part of the woes. He collaborated with Tanzania’s Aslay in a much awaited “collabo” dubbed "Bora nife". Hardly two days after its release, Aslay uploaded his own song, "Kwa Raha". In a bitter exchange on social media, music fans from both countries hurled spiteful words at the other as each sort to defend their own.

Produza Paulo, one of Kenya’s renowned music producers, visited several countries across Africa a while back to work with their artistes. He shared that Kenyan music wasn’t receiving adequate airplay in other countries like we do with theirs. He lays the biggest blame on the presenters and deejays that continually play international music, overlooking our own.

“Whenever these presenters are on air, whatever they say and play is taken in as trendy and factual by fans who follow such shows closely. Failure to play Kenyan music adequately then prompts them to think that it’s of low quality and less creative,” he added.

Kenyans who love “Naija” hits have not even healed from the horror they were treated to when Nigerian star Tekno Miles pulled a pathetic performance, after having ditched rehearsals. Months before, his compatriot Burna Boy went on a blocking spree online of Kenyans who called out his below-par performance.

Davido also had what was termed a mock show by fans who claimed that Muthoni the Drummer Queen and Fena Gitu, his curtain raisers, had way better performances and yet were paid so little compared to the Nigerian.

Damorn Shunet, a gospel rapper, believes that the gospel industry has not been left unscathed either.

“The crowds the likes of Sinach, Ada, Hillsong and Todd Dulaney commanded while in the country was nothing close to what the entire industry players have pulled before,” he said.

Maybe this trend is what prompted Diamond Platnumz to launch his album "A Boy from Tandale" in Kenya, where he’s arguably celebrated more than in his own backyard. His music top charts here and he earns more money for performances than any Kenyan artiste.

The Big Boss aka Rick Ross, who was invited by NRG Radio, left mixed reactions on the revellers who forked between Sh3,000 to Sh9,000 for tickets. Kim Mwandia attended the concert and felt cheated.

“My highlights for the night were the Kenyan artistes who curtain raised. We should believe in them more and place more value on them like we did on Rick Ross. His performance was nothing unusual,” he said.

SUPPORT

This drift has also not gone well with Otile Brown. He believes that shunning our own exposes them to international ridicule. He narrated how he almost broke down in an event he performed at recently, alongside international acts. Kenyan fans openly jeered and told off Kenyan artistes as amateurs, the moment they took to the stage.

“It was terrible when later approaching the international artistes for collaborations, after seeing the hate we were received with on our home ground. However, Kenyan artistes should do good music first before they ask for any backing,” he remarked.

Yemi Alade headlined Choma na Ngoma, and Casper Nyovest the TGR Fest, as the most recent acts to visit Kenya. Again, when High Club in Kilimani launched and for a mobile company’s recent concert, Harmonize and Ommy Dimpoz – both from Tanzania – were the main acts, respectively.

International entertainers are not barred from accessing the country but the government is expected to ensure that at least 60 per cent of music aired on Kenyan media is local content.

The government should also motivate other stakeholders in the industry, like by giving tax incentives aimed at ensuring that commercials on local products use local talent among other things. All these policies, entertainers claim, are the main reasons the music industry is on its knees and also the reason international acts have found more breakthrough here.

Mr George Kioko, a retired Music teacher, weighed in on the issue.

“The only way to prevent this from continuing is to take music education in Kenya more seriously. Right now, music is not an examinable subject in primary school, and few universities offer music programmes. Some artistes scoff at music education as unnecessary, and proceed to lobby for music policies without involving educators,” He lamented.

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