Genre-bending singer, rapper and drummer Muthoni Drummer Queen (MDQ) is set to entice East African music lovers with her latest EP ‘Monsoon.’
The EP is set to drop on International Women’s Day, Friday 8th March, 2024.
The 3 track Afro-pop EP sits at the intersection of Kenyan Pop and Afrobeats, creating a sound that reflects a characteristic East African voice on a global stage.
“As an artist, I always experiment and strive to create my own sound. With Monsoon, I decided to tap into my lifelong love of pop music and blend Kapuka (a defining Kenyan pop sound), R&B and afro-beats.”
-Muthoni Drummer Queen
Muthoni Drummer Queen, popularly known as MDQ, brings intelligence to Monsoon, using several literary devices to share her messages. The EP’s name, MONSOON, is a metaphor that symbolizes how African music is influencing world genres such as R&B, pop and dance. The metaphor is extracted from the monsoon winds that bring rain and influence weather patterns in the East African region.
“I really wanted a unique name that speaks to my East African identity, tells a bigger story of the rise of African music globally, and embodies the wavy, flowy, rhythmic nature of the music on the EP itself.”
-Muthoni Drummer Queen
Monsoon explores the themes of romantic love. “Bure” explores the early infatuation stage, “Pomoni” delves into the talking stage, while “Consistency” sheds light into the work needed to make a relationship work for the best.
MDQ collaborates with Kenyan masterminds in music writing and production to create a beautiful body of work. Across Monsoon, she works with celebrated Kenyan music producers So Fresh, Wuod Omollo and Dillie. Wuod Omollo and Ywaya Tajiri bring their pen game to the project, elevating the songwriting. The diverse oeuvre also invited the able hands of other creatives such as Shem Obara, Mutua Matheka, and Musa Omusi, among many others.
Poised to be among the pantheon of music heavyweights in East Africa and Africa at large, Muthoni Drummer Queen’s musical career has seen her make bold steps to change the music scene in Kenya. Monsoon shows her unstoppable force in championing this good cause.
Tanzanian lyricist Brian Simba is back with a rapid new single dubbed “Silali”.
“Silali” is Swahili connotation for “Won’t Sleep”.
The trunk-shattering anthem by the Bar Es Salaam founder finds him spitting mafioso-esque proclamations and floating on the beat effortlessly.
Produced by Tanzania-based beatsmith Put2Sleep, Brian Simba makes bold statements such as claiming he runs Dar, and the game is too easy like a “past paper” – but this is what keeps him motivated.
Shot on what seems to be a pad with a pool in a tropical setting, this reflects his authority as it’s a symbol of wealth and poise – being relaxed, even when things seem forlorn and chaotic (the rap game in this case). He is out in a sunny location, doing rapper stuff – such as getting blown with his posse and some peachy looking women. Meanwhile on some scenes, he raps into a mirror, sort of confronting himself and reassuring himself that he is what he speaks about on the record, empowering his charged bars up.
Brian Simba is on top of his game and triggers Dar rappers to act towards uplifting Dar rap again as he is, or better if they dare to – respectfully. His facile delivery accents how great he is on the mic on the fast-paced record and his pronounced bars are also equipped to name him the best emcee of his class.
Uncle Guni (a moniker Brian Simba fans call him) has also featured on tracks like SHAKIL G.I.G’s bop “Don’t Kill My Vibe”, performed at the famous Goethe-Institut in Dar, as he readies his next body of work, a follow-up to 2020’s ‘Uncle Guni’.
In other news, rapper Fredrick Mulla has dropped an amazing textbook of verbal diarrhea alongside Kenyan faculty Mbithi, and Elisha Elai called “Vibrate”.
A lyrical exercise, the record sees the emcees trade bars back to back without a gasp of air in between on an easy going summery beat, while Mbithi laces a peachy hook to top it off. Check it out now.
Touted as one of the firebrand emcees in Kenya’s contemporary class of rap, multi-nominated rapper Groovy Jo is a unicorn. Having churned out two dogged EP’s that have stuck her name in every relevant rap conversation in Kenya at the moment. ‘Bundini’ as her core fans refer to her as has already served up records with well-respected names in the industry including Boutross, Asum Garvey, Vallerie Muthoni, Thayu Mwas, and more just to name a few. Groovy Jo’s capacity to slither on diverse genres including Shrap, Pop, Afro Swing, and Shrap – yet still be authentic and deliver her zany punchlines makes her an erudite of Kenya’s musical offerings at this stage. Speaking to Hip Hop Africa, she makes it clear that despite the deficiency of support from native Kenya, she will keep making music that is unbounded by geography.
“I honestly do music ’cause I am passionate and I’m not making music for just the Kenyan population but for the entire world in general” Groovy Jo mentions.
In one of her most candid sit-downs, she lets us in on new music, tentative dates, the growth of womens’ deposition in Kenyan music from her eyes, and the impact she wants to make outside of making bops for the baddies.
Exclusive Groovy Jo Interview
Hello Groovy, tell us about yourself and what music you make?
I’m a Kenyan performing and recording artist, my main genres are Hip Hop, Shrap and Pop. I have been making music professionally since 2018 with two EP’s, out and a third coming out May 2024.
Can you share your music journey with us from as far back as you recall until now?
Wow, I started rapping when I was young, heavily influenced by Nicki Minaj I think when I was 11. I first heard “Itty Bitty Piggy” and I immediately looked for her tape, downloaded it online, and I will never forget – I think it was the first body of work I downloaded and listened to religiously. It’s crazy how it inspired me and how she plays a huge role in my music journey. Now 14 years later I’m living my dream! I get to do it every time I hit the studio and every time I’m on stage so I’m not complaining.
What are some of your greatest milestones so far?
I got to perform at Nyege Nyege in 2023 back in November and it was incredible. The crowd I pulled, my whole team was there it was quite electrifying for me ’cause of the reception.
Also one of my tracks got featured in a Kenyan film which is a huge milestone for me cause I think that’s every artists’ dream to be featured in their own country’s body of work.
https://www.instagram.com/p/CyiK_ZNIuF4/
What would you say has been your most significant setback?
I think myself I tend to overthink a lot about my music and how I want it to be. I am my biggest critic but it’s a work in progress.
What motivates you the most?
My desire to inspire anyone who listens to my music to go for what they love and chase their dreams no matter the odds – corny but true.
What about the music industry triggers you glaringly?
How artists act towards each other; we’re all in this space and we need to support each other. Kenyan artists be snooty as hell like they in Cali or something.
Let’s talk about your latest single “Majirani”. Tell us about it i.e. the inspiration, creative process, collaborators, and the concept.
Majirani is a feel good trap song; I wrote it just chilling in my house. It just came off that vibe. My producer sent the beat and we locked it in.
Word is, you have a project in the works?
Yes my third EP is dropping in May. I am so stoked cause it’s heavy on the rap. ‘Pressure’ is a sweet feel good tape. We go harder on the bars for this new EP and surprise features.
What can we expect from the forthcoming EP?
New features, heavy trap and some feels lol. This tape is special ’cause I wrote it at my lowest I feel but it came out beautifully.
In your legacy, what does this era of Groovy Jo define?
It’s unapologetically accepting one self and loving oneself’s flaws and all. Its about accepting growth and change no matter who has to be left behind. This new era is like a rebirth and it’s quite exciting.
Talk about being a woman in the contemporary music industry today ie how is the treatment, what are your challenges, and what do you love about being a woman? It’s been hella welcoming lately, when I started off not so much. Sometimes us women are our own biggest enemies. Female artists do not support each other and its quite tragic. Across arts, not just music which is a part of the problem. The plus side is that the mindset has changed; women also receive a lot of support that wasn’t really felt. But we need more shows headlined by women.
Is the Kenyan music industry rewarding as a woman?
Not seeing the rewards yet I must say. I honestly do music ’cause I am passionate and I’m not making music for just the Kenyan population but for the entire world in general.
The rewarding for me is making an impact that sticks so until I attain that I can’t answer.
What is your parting shot?
To my fans i love you so much. Thanks for the continuous support
MAJIRANI OFF MY UPCOMING EP DROPPPED TODAY AVAILABLE EVERYWHERE
Nigerian hip-hop veteran Illbliss, widely recognized for spearheading the ‘Eastern – Igbo Boy Movement’ in Nigerian hip hop, has recently unveiled his eighth studio album, titled Sideh Kai. This release marks a significant milestone in his illustrious career, reflecting his evolution and growth within the hip-hop landscape.
A Reflection of Journey and Maturity
Sideh Kai, comprising 16 tracks, encapsulates Illbliss’s journey and maturity as an artist. The album resonates with fans and critics alike, hailed as a masterpiece for its hard-hitting production, introspective lyrics, and trademark wordplay.
Celebrating Life and Heritage
The album transcends mere musical expression, serving as a celebration of life as a middle-aged rapper and black man. Particularly notable is the track “Daughters”, wherein Illbliss expresses his profound love and gratitude for his daughters, adding a deeply personal touch to the album.
Thematic Exploration
Sideh Kai offers a thematic exploration delving into sophistication, resilience, opulence, and class, all interwoven with a deep reverence for Illbliss’s Igbo heritage. Tracks like Red Caps (Igbo) pay homage to the Igbo culture and its enduring spirit, setting the tone for the album’s overarching themes of identity and cultural pride.
Lyrical Prowess and Collaborations
Illbliss’s lyrical prowess shines throughout the album, showcased in tracks like God Is God and Peace of Mind. Moreover, Sideh Kai features an impressive lineup of guest artists, including Odumodublvck, Vector, Umu Obiligbo, Cobhams Asuquo, Made Kuti, Fave, Teni, Lade, Deborah Prest, Acetune, and Yukel, each contributing their unique flair to the project.
Legacy and Influence
With Sideh Kai, Illbliss further solidifies his position as one of the most influential figures in Nigerian hip hop. From his debut album, Dat Ibo Boy, to his latest release, Illbliss continues to leave an indelible mark on the genre, captivating audiences with his timeless artistry and evolution as an artist.
Conclusion
For millennials, hip-hop enthusiasts, and anyone who appreciates indigenous rap, Sideh Kai is a must-listen. Available for streaming on platforms like Spotify and YouTube, the album invites listeners on a captivating journey through Illbliss’s life, heritage, and unparalleled musical craftsmanship. Connect with Illbliss on social media for updates and exclusive behind-the-scenes content.
Follow Illbliss on Instagram and X for more updates.
The Incredible Music Festival (IMF) is set to open its doors tomorrow in the picturesque city of Jos, Plateau State, marking its second edition after a successful launch in 2022. Renowned for delivering exceptional musical experiences and revitalizing the creative economy, especially in Jos, this event has garnered widespread anticipation. Despite initial plans for a New Year’s Day celebration, the festival was postponed to honor those who lost their lives in tragic incidents on Christmas Eve in Mangu and Bokkos areas of Plateau State. Nevertheless, the return of IMF promises three days of excitement from February 22nd to February 24th.
Event Schedule Overview
Day One: Workshop and Opening Ceremony
Venue: Crest Hotel
Time: 10 am
The festival kicks off with a workshop and an opening ceremony on day one, setting the tone for the following days of musical extravaganza.
Day Two: Panel Discussion and Networking Event
Venue: Gowon Hall, Crispan Hotel
An engaging panel discussion and networking event are slated for day two, providing attendees with opportunities for learning and connection.
Day Three: Grand Finale
Venue: TBD
Date: Saturday, February 24th
The grand finale features a lineup including a gospel concert, a hip-hop showcase with battle rap, and the highly anticipated Choc Boiz homecoming featuring M.I Abaga, Jesse Jagz, and Ice Prince.
Get ready for an extraordinary experience as Cotton Fest (Cotton Festival) returns, for the 5th edition in Johannesburg, to its home at the Old Station in Newtown on April 6th, 2024.
This year’s theme, #VoteCottonFest, goes beyond a festival; it’s a dynamic lifestyle movement where attendees actively shape the culture through music, art, sport and lifestyle choices, celebrating the convergence of individuality. Cast your votes for the new wave in youth culture, embracing diversity and inclusivity in every aspect of the festival.
Engage in interactive elements and unique experiences that reflect the vibrant spirit of this years theme #VoteCottonFest. Cotton Festival is a testament to Bianca Naidoo’s commitment to continue the legacy created by the late Riky Rick. Together, they championed collaboration across music, fashion, lifestyle, and sports culture.
We’re thrilled to announce our festival partners who share in our vision: NikNaks, Coke Studios, Vuse, Hunters, Klipdrift, Count Pushkin, 4th Street Wine, NBA, Jägermeister, Youth X by Nedbank and Red Bull.
In collaboration with dynamic media broadcast partners like YFM and MTV Base, Cotton Festival’s reach extends far and wide, resonating with youth audiences throughout the country. Featuring the hottest South Africa talent, artists will perform across 3 stages. Save the date, embrace the theme, and join us on April 6th, 2024, in this celebration of individuality, expression and empowerment of young creatives! #CottonfestJHB #VoteCottonfest2024
VoteCottonFest
Tickets for this immersive lifestyle experience are ON SALE NOW at Pick n Pay and Webtickets – secure yours here. • R200 Early Bird Tickets – limited tickets available
R300 General Admission – limited tickets available
Stay tuned for more information. We Never Die. We Multiply.
The pair of Afamefuna and Sam represent the Kenyan music business class podcast, 30% Podcast. Pronouncing various hot takes, unpacking Kenya’s royalty quagmire, dissecting the backend jargon, and shedding a spotlight on the hottest music currently blasting out of Kenyan terrain, the 30% Podcast is the new CNN for Kenyan music lovers. Their opinions are king at this point. Their credibility has been cemented, and there is more to come from the music producers turned broadcasters. The music industry in Kenya has been shorthanded in finding a journalistic and historian edge that can capture the key happenings of the industry in real time, and the 30% Podcast has inevitably seized that gap.
In an exclusive conversation, we learn about the new media empresarios, their musical contributions, mainstream versus indie today, and some of their vows for the rest of the year
One on One with The 30% Podcast:
How did the both of you meet, and how has your relationship grown to date?
Sam: I think we met at the studio we used to work at. We never really spoke much. But having a podcast and having something to deliver has helped us grow and learn more about each other.
Afam: I’d say we are really close now.
How important is it to have organic relationships and chemistry when podcasting?
Sam: It depends because if you’re having an informational podcast it’s not important. You just need to have two people that are good at broadcasting. But when you have a little banter, life lessons, personal opinions, it’s important. It keeps things from being awkward, and it feels human.
What inspired your podcast the 30% Podcast?
Afam: Essentially, our conversations around the music industry that we’d have in the studio we worked at before. Sam came up with the name after realizing only 30-40% of Kenyan music is played on the airwaves. The goal is to educate and have conversations on how to raise that number.
How has the podcast grown over the past year?
Sam: From our following, to our network bandwidth, I feel like consistency has played a huge role in asserting that.
Afam: We’ve had editorial coverage, we’re getting event invites, and people considering us as press, that has been really good. We are grateful.
You’re both producers in your own right, Sam having an extensive catalog with Nyashinski and countable placements – Sam, what’s the most glaring takeaway producing for a more mainstream versus an indie artist?
Sam: I normally approach both with a similar gusto. With a mainstream act, you think about the impact because they have a widespread audience and that might play into some decisions you make. Personally I don’t pick and choose, I treat both with the same respect. The takeaway is however, with mainstream artists you tend to have less freedom depending on your level as an artist.
Afam, you have worked with many artists likewise in numerous capacities. Speak about artists you have worked with and your experience producing in the Kenyan music industry. Is there potential?
Afam: Yes. I tend to work a lot with artists in their beginning stages because I’m invested in developing and upcoming scenes. Artists such as Iyanah, Andyah, Chevy Kev, Swahili Papi, and more, I feel will be very successful. Although I have also worked with more established acts like Benzema and Lil Maina. There is a lot of diversity in Kenyan music. And there is a lot of creativity. The industry can go in so many ways so I’m excited for the industry.
Afam, you’re riding with a hit song at the moment, Lil Maina’s “Cocoa Butter”. How do you celebrate such wins?
Afam: Firstly, not in my wildest dreams would I imagine me even reading this. It’s taken a while to get to this point of being celebrated by the mainstream because I produce a lot for underground artists. But I’m grateful and thankful. As producers, we don’t have much time to celebrate because the success can be short-lived as there’s a lot of competition. So how I leverage this, is working harder and trying to work on my craft even more.
Why are both of you passionate about the Kenyan music industry, and what do you feel the climate is at the moment overall?
Sam: Seeing the discrepancies between the Western world and Kenya in the music, technicalities, business, the marketing strategy, I feel there is no reason to be okay with that. There is a lot of room for improvement. I have an innate fire to see our industry flourish.
Afam: I’m a dreamer at heart. I dream of a time where Kenyan music will be at the highest level healthily competing for Grammys and so on. There are amazing success stories such as Boutross and I want that kind of success to be available to every aspiring artist in Kenya.
For the 30% podcast, how do you think podcasting has impacted the media and broadcast space in Kenya?
Afam: I think podcasting is one of the biggest mediums currently. You can see artists utilizing it as part of their press runs. Kenyans are listening. I believe the podcast boom is taking full effect and we are glad to be part of that.
Sam: I think it’s interesting because podcasting is a little more loose and free compared to traditional media. It offers something else. I believe it impacts the music industry positively because we get to see our favorite artists in a new light, and that is commendable.
Many have asked you to diversify and go visual. Is this something you’re cognizant of?
Afam: Definitely. I think that as much as podcasting in its pure form is meant to be an audio experience, podcasting in Kenya really thrives when visuals are attached to them. We saw the positive reception when we interviewed Eric Musyoka, so this is an approach we are willing to take.
What are some plans you have for the podcast this year?
Afam: I’d say we’re keen on getting visual representation out there. It’s also about staying consistent and how we can continue to talk about things people care about in the music industry as the main thing. We don’t want to do anything over-the-top. We really just want to deliver a good product, talk to interesting people, and interview people who Sam and I are keen on getting their insight.
Ghanaian Rapper Tulenkey presents his first release of the year, a four track EP entitled “Bad Friends”. Join Tulenkey on a musical journey where the voices in his head morph into deceptive companions. Each track becomes a chapter, recounting the internal conflicts and selfdoubt that characterize this intricate dance between Tulenkey and the negative influences that disguise themselves as friends.
Featuring guest appearances by Kweku Flick, Oseikrom Sikanii & BeeztrapKOTM, this musical journey challenges the conventional norms of storytelling, with each song depicting the profound impact of unchecked negativity. The EP confronts the stigma surrounding mental health, encouraging listeners to empathize with the internal battles faced by many, resulting in a project that is relatable and intense simultaneously.
Following the exclusive launch of the EP in Accra on Friday 16th February, this latest project by the dynamic Ghanaian rapper went live on all digital stores over the weekend.
“Bad Friends” is available on all digital streaming platforms now.
This weekend, we feature music from stalwarts NJERI, An21, $hylii and more from Kenya, Uganda, and UK-based acts. Check it out.
NJERI – Patience Ft. Decester, Ari
Renowned Kenyan songstress NJERI is set to captivate audiences once again with her latest release, “Patience”. The soulful ballad, infused with NJERI’s distinctive vocal prowess and emotive lyricism, is poised to become a beacon of hope and resilience for listeners around the globe. The track blends Afro, R&B, Amapiano and Dance. NJERI from Kenya adds a distinctive melodic brilliance. A chance encounter with ARI from Zambia elevates the track with R&B flows. DECSTER from London brings forward the dance elements. This track adapts to various moods, suitable for chill days or vibrant parties. Explores themes of patience and toxic relationships from diverse perspectives. Its unique journey and cross-cultural resonance can capture global audiences.
In “Patience,” NJERI delves deep into themes of perseverance and endurance, delivering a powerful message of resilience in the face of adversity. With its lush melodies and poignant lyrics, the song serves as a reminder of the importance of patience and steadfastness in navigating life’s challenges including love.
NJERI’s unparalleled talent shines through in every note of “Patience,” as she effortlessly combines elements of Afro-pop and soul to create a truly unforgettable listening experience. Backed by a stirring arrangement that complements her vocals perfectly, the song showcases NJERI’s ability to connect with audiences on a profound emotional level.
With its universal message of hope and resilience, “Patience” is poised to resonate with listeners from all walks of life. Whether they’re navigating personal challenges or simply seeking comfort in uncertain times, NJERI’s latest release offers a beacon of light and a source of solace.”Patience” is now available on all major streaming platforms :
An21 – Underground Ten (Album)
Kenyan music sensation AN21KE is set to shake up the music scene with the release of his highly anticipated debut album, ‘Underground Ten.’ This groundbreaking project showcases AN21KE‘s versatile talents as both an artist and producer, featuring an eclectic mix of genres and collaborations with a diverse array of artists.
‘Underground Ten’ is a testament to AN21KE’s boundary-pushing creativity and commitment to innovation. Drawing inspiration from a wide range of influences, including hip-hop, afrobeat, reggae, and electronic music, the album offers a fresh and dynamic listening experience that defies categorization. From his lead single ‘‘Watatii’’ featuring Denzel Kong and Ouma Wa Mafegi, to the blissful “Going Up” the album is layered with an equal range of production from songbirds such as Miss T, to the self titular single “Underground 10,” which encapsulates the underground Kenyan music scene that shows a glee of hope with the new Kenyan artists.
One of the standout features of ‘Underground Ten’ is its collaborative nature, with AN21KE teaming up with an impressive roster of artists from the underground Kenyan scene. From established stars to rising talents, each collaboration brings a unique flavor to the album, resulting in a rich tapestry of sounds and styles.
‘Underground Ten’ is now available on all major streaming platforms:
$hyli – Toxic Love
Experience the electrifying energy of Shyli’s single, Toxic Love. Blending elements of Afropop and RnB, “Toxic Love” is a high-octane anthem that demands to be heard. With its anthemic chorus and infectious guitar riffs, this track is sure to leave a lasting impression on audiences everywhere. The artist recently graced the cover of Spoify’s “Made In Uganda.” For the UK based Ugandan emoter, “Toxic Love” delves into the complexities of a tumultuous relationship. Through soulful melodies and poignant lyrics, $hyli narrates the story of a man who finds himself entangled in a toxic love affair with a woman who is already committed to another.
PapaRaZzle – I REALLY LIKE YOU
Singer and songwriter PapaRaZzle dazzles on this smitten cut with his mellifluous vocal delivery and smitten Afrobeats record. A cut that embodies the Valentines spirit, Papa glides on the smitten instrumental as he professes his love for a love interest. A bop in essence, Papa shows off his vocal prowess and songwriting virtuoso as the track goes on. Press play below.
Michael Carpenter stylized as CAP, has yielded an informidable reputation as Kenya’s Urban Music golden child. Grossing a laudable catalog with placements that across Kenyan Hip Hop tastemakers from Kahu$h, Boutross, Wakadinali, Timmy Blanco, to saccharine R&B stars in NJERI, the name CAP is adjacent to hits and records that very much shape Nairobi’s Hip Hop canvas.
Brooding cassius clay energy following his most recent works of soundtracking Kenya’s blockbuster Netflix series, VOLUME, CAP is in a stratosphere of his own. Bullish, buoyant, but focused, he is hardly celebrating the meteoric accolade. He is the studio working with Kenyan Alt risers Maya Amolo and Nyokabi Kariuki, as well as his familiar peers – Albeezy, Sabi Wu, and may others.
In an exclusive interview with Hip Hop Africa, CAP shares his most detailed interview to date in an unfiltered and unadulterated conversation with us. Read all about it below.
One on One with Producer, CAP
Talk about your background and your upbringing?
I feel like from a young age, I’ve always had a musical ear. Like when the radio would play certain songs, I could hear the harmonies in my head. I think that’s because my parents were in a choir.
How did you get into music production?
So as of production, my brother had FL studio on his laptop and when I was a kid, I thought it was a game (Laughs). So I used to mess with it here and there and then it got serious when I went to high school. That’s around the time I met most of my collaborators to date. We were in a very musical school so we would always be in the music room. Then I made my first serious beat on my guitar teacher’s laptop (shout out Mr. Mike). And the rest is history.
When did you realize you’re a full-fledged music producer?
I think when I made my first song with MIKE OF THE FUTURE. Yea I’d say that’s what gave me that realization.
How supportive have your family been of your music career?
Quite supportive actually. There’s obviously the occasional “So when are you going back to school” (Laughs) but for the most part they’re very supportive.
You recently produced the soundtrack to chart-topping Netflix series “The Volume”. Speak to how that came to be, your reaction to being chosen, and being part of the project?
So that came about through Ivan Odie where he was already involved with the project and he called me in about the intro sequence song first. After we worked on it, he told me they were also looking for some more music to go into the show so we got to working on that. As far as my reaction, I was excited to have Netflix on my resume.
Speak to what it’s like working with Timmy Blanco, NJERI, Poppa Don and Ivan Odie in the studio? What is the vibration?
So the intro sequence song went through different iterations. There are other versions with different artists and also different beats. So as far as the song, we didn’t do it all in one session. But working with them is always a fun time for sure. I’m working with Blanco and NJERI on their next projects as we speak so be on the lookout.
What does it mean to work on a Netflix production?
It’s a kinda cool experience where Netflix went from being unavailable in this country to our music being on that platform so it’s surreal in that regard.
What are your main inspirations generally and at this current point in time?
Right now I’m getting a lot of inspiration from films at the moment. My favorite movie right now is Memento which was directed by Christopher Nolan which has a very layered story and I’m trying to see how I can tell a complex story like that through music. Also I recently started listening to scores of movies and shows to get out of the box of listening to normal music.
What about fashion makes it an important extension to your being. To that point, how did you come up with The Agenda Worldwide. And what’s the vision?
I really like putting on good outfits and on top of that, I feel like fashion, alongside music, is a very core element of culture. That’s where The Agenda Worldwide comes in. As of right now, the vision I have for it is to try to do unconventional things with fashion. I wanna keep it at that for now.
Can you give us your Top 10 Produced by Cap records?
Oof this is a hard one. They’re all my babies (Laughs) I don’t think I can pick.
Give us your Top 10 rappers. Doesn’t have to have a particular order.
Damn top ten of all time might be to hard for me I can give you my top 10 right now though:
BEAM
Vory
Fridayy
Cash Cobain
Drake
Swahili papi
Tommy Revenge
Lancey Foux
Len
Finigurrero
How about producers?
Has to be:
Wondagurl
Wheezy
Ye
Metro
Redda
Jvcxb
FK
Boi-1da
Mike Dean
BNYX
When you’re cutting records, what’s the most important thing to you at this point in time versus when you first got into music production?
These days I look at the song as the priority where before I only used to care about how the beat sounds. I used to put too many things in the beat in my first sessions and wonder why artists never used to pick it.
Who are your favorite Kenyan creatives generally?
I like what Kxffy is doing with the music but I especially like the vlogs he puts out. It gives the producers that’ll come after us good insight on production.
There’s also Annette Michatha. She’s a stylist who’s doing amazing work. We’ve worked on some projects that will come out soon.
Also Chief Custom Grillz. He’s a jewelry designer. All I can say about him is “be on the lookout“
Ama too. Ama is a model and we’ve worked together on a lot of the Agenda stuff but I also love the stuff she’s doing with Tysevisual, super cool. Brands please give her all your money (Laughs).
There is a huge renaissance happening in the Kilimani-Kileleshwa rap and general creative scene. Talk about what makes this generation special? And who are some of the faces, collectives and creatives we should be paying attention to?
I think the biggest thing that differentiates us from any other generation is technology. It lets us work in more efficient ways from the previous generation. Literally someone can go platinum from a song they made in their bedroom today. There’s this new artist I’m working with called 30 (he’s crazy to check him out). He records songs off his phone, which would have been crazy even 5 years ago. But a few people that you should look out for are: 30, Gaccu, Kihoti, Varde, there’s this artist called Kay khali that my brother FK put me onto, also Ashley Kitonga. It’s a lot of really good music coming out of Kenya right now I’m definitely forgetting some but those are a few you should look out for.
What’s the ultimate Cap girl?
Damn this question was unexpected (Laughs). But she has to be openly passionate about something. It could be about anything. It can be trees, how a road is built, literally any random thing. I love hearing about random facts about random things from a beautiful girl . Girls I’m single too.(Laughs).
A lot of people aren’t familiar with your projects prior to ‘All Caps’ like ‘East Bound’, ‘Block Boy’, ‘On Our Own’ etc Why do you think this is so?
I think it’s recency bias to be honest but also it might be too old of a sound from me for people to gravitate towards. I feel like I have grown so much from that sound that the new music I put out is almost completely different so people just like this new sound.
What’s the goated studio session that you’ve ever had to date?
I’ve had a few amazing sessions but there’s a weekend I was at Hotbox studio for a weekend and me and Dez made a whole album. Don’t think I’m biased when I say this but that’s some of the most timeless music we’ve ever made.
A lot of artists whether from the indie to the mainstream scene are now coming to you for records. From Nyokabi Kariuki, to Nviiri The Storyteller, what compels you to work with an artist?
I think that I have a sound that’s starting to reach all these people’s ears and I’m super grateful for that. In the case of Nyokabi, we haven’t made any music yet, we are just working on a separate project together which is a short film (be on the lookout for that) but we’re definitely planning to get into the studio.
Lastly, you had your first ever show last year. What can we look forward to this year?
What’s that one 21 Savage song? (Laughs) but for real, expect a lot. I’ve been working on my next album for a while now so be on the lookout for that. Also I’m doing a lot of projects with artists this year, new artists and frequent collaborators too.
