For the Girls: How women’s place in Kenyan music continues to evolve
On the verge of a new norm
To many, the Kenyan music scene is an enigma. Over the years, emerging sounds from the East African country have occasionally caused international conversations with the raging rise of Shrap and an inventive take on Drill, adding to its vast palette. While music from Kenya has sometimes been left out of the picture, the scene is undeniably sprouting, but at its own pace.
For years, Kenyan music has been heralded by a long line of male artists. Reggae artist, Hardstone is considered the godfather of Kenya’s contemporary urban music released, with the seminal impact of his Hip-Hop-fusion album, ‘Nuting but de Stone’. Teaming up with prolific producer Tedd Josiah, he ruled the Kenyan airwaves with the timeless hit, “Uhiki,” with its remix even receiving international recognition via its placement on the 2003 ‘African Groove’ compilation released by New Orleans-based record label, Putumayo World Music.
Concurrently, producer Clemmo and rappers Jua Cali and Nonini were crafting Genge, an alchemisation of Rap and Dancehall with a distinctly Kenyan verve. To a large extent, the evolution of Kenyan music has been defined by its Hip-Hop influences, with Khaligraph Jones reigning as the perennial king of Rap, alongside male rappers Octopizzo and King Kaka. However, the terrain has diversified greatly, widening to accommodate a panoply of sounds and a multiplicity of artistic inclinations.
In recent years, there has been the outburst of Alt Nai, a predecessor of Nu Nairobi, which has grown through urban artists whose music cannot be put into a specific category. They focus on the importance of the city’s own impressive set of sounds, championed by rising acts such as Karun and EA Wave. This liberal approach is helping the democratisation of the playing field, ensuring that it is not totally dominated and defined by the men. Finally, the long-awaited renaissance of women involvement in Kenyan music is becoming more pronounced than it has ever been.
Around the turn of the millennium, Kenyan music was dominated by Ogopa Records and Calif Records, two power players who provided the necessary foundation. At this time, the mainstream was filled with back-to-back hits from the controversial Genge to fan favourite R&B, and it was in these conditions that the greatest women to pioneer Kenyan music were born.
In the early 2000’s, all Kenyan channels broadcasted “Niangalie,” the debut single from the Kenyan singer and songwriter, Wahu which gained regional recognition from all over Africa. At this time, female artists were a fairly new to the industry, and the then-20-year old Wahu was among the first female artists in contemporary Kenyan music. Her enticing vocals and larger than life stage presence brought the spice Kenyan entertainment was missing: women.
Ogopa Records was also flourishing with their next big hit, Amani. Known for her sultry singles and catchy hooks, singer Amani released instant hits that catapulted her to mainstream success, receiving public nods and even collaborations from household names, like the Nyashinski-assisted “Bad Boy” in 2005. Wahu and Amani became jewels adored by Kenyans as they brought home not only recognition but also regional awards, each winning Best Female at the MTV Music Awards in 2008 and 2009, respectively. These were important precedents and breakthroughs that signalled that female artists could showcase their craft and reach wider audiences.
While R&B and Genge were the main Kenyan music export, a reggae and rap group dubbed Necessary Noize was in the making. Consisting of Wyre and the gritty Nazizi, the dynamic duo vibe they had was what the industry needed. Sprouting with Hip-Hop and Reggae tracks, it was impossible to ignore Nazizi. Whether it was her punchy cadence as she flowed over the 808’s, or her androgynous image complemented with shoulder height dreadlocks, she expressed a level of autonomy that may not have been typically associated with women in Kenyan music.
This was made clear in the defining “Kenyan Boy, Kenyan Girl,” where she made it okay for women to make the first advance in romantic situations. Dubbed by the Kenyan streets as the “First Lady” of Kenyan Hip-Hop for her crisp and incisive flow, Nazizi challenged the African social construct and the role of women in society. Eventually, Necessary Noize disbanded and Nazizi continued as a solo artist with several Ragga songs, while refusing to put the mic down, as she still works as a radio presenter.
Since Nairobi is the capital city of Kenya, it is unconsciously seen as the hot bed of music, but in Mombasa, a storied genre known as Taarab, which was pioneered in the 1920s and consists of Swahili and coastal soundbeds, was being updated by a younger generation of artists and was making waves in the 2000’s. At this time, Kenya’s Nyota Ndogo was a lyrical Taarab genius in the making. Inspired by a popular local rap group K-South, she took the entire East African airwaves by storm with popular Swahili tracks that engaged social topics, like one of her signature hit tracks, “Watu na Viatu” which touched on corruption, injustice and hate among peers. Still an active artist, Nyota Ndogo represents Kenya in various festivals in East Africa including Sauti za Busara and Ziff in Zanzibar.
Around this time, circa 2005, Califf Records was still enjoying its dominance in the music scene, a period when mainstream airplay was tilted greatly towards local Genge tracks. Playing their hand, Lady S, Chokuu and Ratatat were the perfect female trio behind the Calif Angels. They inevitably set the tone for other female emcees coming in behind them. Calif Angels created the way for females to be menacing, gritty and appreciative of their sexuality.
Among their many achievements, Lady S is also credited for bringing a new flow to Kenya’s widely popular sound, Gengetone, which many wrongly attribute to male icons such as Nonini and Jua Kali. Historical inaccuracies such as this tend to happen often, due to Kenya’s lack of tangible music archives. As time went on, many of these female pioneers either put down the mic, passed away unexpectedly or faded to the background, with no way to find them. In turn, this brought a vast gap that would take years to fill as the record labels also faced uncertain futures.
A shift occurred in 2011, with the advent of the digital age, and the growth and easy accessibility of the Internet. Women began unlearning the language of patriarchy. They learnt they could speak out against inequality and call out men for their indecent behaviour. It was during this period that artists such as Avril and Marya teamed up for the anthemic number, “Chokoza.” Seen as the new generation of female leaders in music, they set out to revert the norm that male dominance had asserted itself in the industry and instead, proved it to be toxic with songs armed with egalitarian principles.
From unsavoury sexualisation to inequality, this new generation of female artists faced a hard time breaking through to the public. At the same time, the media constantly pit women against each other, creating the misconception women can’t support each other. Even as recently as 2017, women in the Kenyan industry ensued in various diss raps against each other, further muddying the conversation on the role of women in Kenyan music.
As much as the industry seems ungiving, artists such as Muthoni The Drummer Queen cropped up, calling out social injustice and giving space for a new wave of Alternative musicians. She organised an event dubbed ‘Blankets and Wine’ that looked to support the alt side of music, which was catering to broader public tastes that were looking beyond the orthodox Hip-Hop and Genge genres.
At the same time, the cutthroat male-dominated industry provided a few allies such as King Kaka, who gave women a platform on a cypher dubbed “Ligi Soo,” and signed female rapper Femi One to his Kaka Empire music label. It was a notable development at a time when Hip-Hop was deemed to be a man’s game, which is ironic, as we had Nazizi once ruling the airwaves in the early noughties.
At the moment, the scene is experiencing a medley of new female artists. Karun, who is seen as the forerunner of this new generation, is effortlessly breaking barriers as she was recruited in the inaugural class of the EmPawa 100 initiative, alongside fellow Kenyan R&B/Pop riser’s Xenia Manasseh and Maya Amolo. The women are currently asserting their position in the Kenyan scene through strategic collaborations. In 2020, Xenia Manasseh was a contributor to Teyana Taylor’s project, ‘The Album’, while both artists made searing appearances on “Say You Love Me” off British-Ghanaian producer Juls’ 2021 album, Sounds of My World.
More young female artists are cropping up bringing new ideas, sounds and artistic approaches. Nikita Kering recently won the Best Artiste R&B/Soul Award and Best Female Artiste East Africa Award at the AFRIMA 2021 awards, on the back of her chamber-filling voice, R&B-inflected tracks, and pop balladry. There’s fierce and dynamic rap artists like Groovy Jo, Ssaru and Silverstone Bars injecting a fresh edge to the Kenyan hip-hop scene, while producer-DJs like Coco Em and [MONRHEA] are increasingly integral to the inventive verve of East Africa’s Electronic music scene.
Veterans in the industry also have a huge role to play as they support upcoming women in the industry, and they’re playing the part. Last June, Fena Gitu rallied the gutsy Valerie Muthoni and uniquely talented Maandy for an empowering track titled “P*ssy Power,” while Sanaipei Tande lent her vocals to Nadia Mukami’s electric single, “Si Wangu” in late 2020.
Today, the presence of women in Kenyan music continues to rapidly develop. As more female voices come up, and more veterans offer guidance and continuity, there is increased hope. We’re now firmly coming into times where there is more recognition of women from the listening public, helping to break biases and fully ushering in a new norm.
FOR THE GIRLS: NANA DARKOA SEKYIAMAH WANTS TO HAVE FRANK CONVERSATIONS ABOUT SEX
Maya Amolo Is Committed To Giving You The Sweetest Time
There’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the...
“Sweetest Time,” Maya Amolo’s latest single, is a soothing, lovesick confessional that mixes intimate, heartfelt lyricism with wistful production courtesy of Ugandan musician and producer SOULCHYD aka MAUIMØON. Alongside fellow Kenyan singer Ywaya Tajiri, the self-acclaimed sweetest girl delivers a lustrous duet that sees her soft vocals, which perfectly complement Tajiri’s more robust voice, skip and flit across moody synths, intensifying the spotlight on her wholehearted delivery. “I can feel you rushing through my system / Every single day it’s my religion,” she sings passionately halfway into the record. The whole thing sounds like the aural equivalent of a warm blanket; a truly affectionate record that immerses and envelopes its listeners in its warmth. This is the brand of vulnerable, understated R&B music that has been helping Amolo gain significant attention since she debuted in the pandemic year.
Born and raised in Nairobi, Kenya, Amolo always had an affinity for music. The singer and producer, who took on piano and guitar lessons as a child, has previously credited acts like Brandy, Erykah Badu, Prince, and Kenyan musical icon Eric Wainaina as her early influences – and it’s easy to see how Amolo’s style draws from this strong lineage of musicians whose music is equally expansive, soothing and vulnerable. After years experimenting with different styles, recording covers to beats she ripped from YouTube and posting them on her Soundcloud page, Amolo released her debut project ‘Leave Me At The Pregame’ in 2020.
The EP, which quickly soared up the charts in Kenya, served as a brief but emphatic introduction to Amolo’s minimalistic take on R&B. Standouts like the emotive opener “Puddles,” “Lush Green”, and “Jokes” showcase her clever and poignant lyricism that reflects on themes of love, depression, and self-healing. Along with sparse, melancholic production and the icy sensuality of her voice, Amolo delivered a remarkable debut that made her one of the most promising figures in Nairobi’s alternative music scene. Two years after ‘Leave Me At The Pregame,’ the Kenyan rising star released her debut album, ‘Asali.’
‘Asali,’ which translates to “honey” in her native Kiswahili, showcased Amolo’s progression as both an artist and a human being, as she swapped out the sad-girl tunes that filled her debut EP for more vibrant and intricate records – thanks in part to Sir Bastien and Kenyan producer and rapper Lukorito – that explore themes of growth and the complexities and rich luster of love. The album’s lead singles, “Foundry” and the self-produced “Can’t Get Enough,” found relative success on streaming platforms, placing Amolo as one of the continent’s most exciting new R&B voices. About a year after the release of ‘Asali,’ Amolo updated the album with 8 new songs on a deluxe version that featured Kenyan stars like Bensoul, Xenia Manasseh and Zowie Kengocha.
In August 2024, a few months after she delivered a splendid Colors performance, Amolo released a new project titled ‘What a Feeling.’ The 5-track EP, which essentially serves as an ode to Amolo’s home city, Nairobi, sees her experimenting with an array of dance sub-genres without straying too far from her R&B roots. While the project still retains much of the melancholy and elegance that defined her earlier work, there’s a hypnotic and pulsating energy that courses through ‘What A Feeling,’ that highlights a shift in the singer’s sensibilities. Amolo’s honeyed vocals gently seep through subtle Dancehall, Electronic, R&B and House-inspired production and the accompanying visualizer, a mashup of camcorder footage of her and her friends in Nairobi, also adequately captures the charming and nocturnal vibe of the tape.
The project produced standout tracks like the sensual “Let It Flow,” the title track and “Take It,” which later got remixed by Ugandan singer Soundlykbb and rapper SGawD. With Amolo’s latest release, “Sweetest Girl,” the Kenyan rising star continues her intricate exploration of R&B music, merging it with varying styles to produce her own distinct and refreshing variant. There’s no telling what Amolo might do next, but with only a handful of releases to her name so far, there’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the genre’s most prominent faces across the continent.
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T.I Blaze Updates ‘Shakur’ EP With Deluxe Version
Following the success of “Trenches Luv,” the street-pop star is back with seven new songs on the deluxe...
Over the last few years, street-pop, a guttural version of afropop, has surged to mainstream popularity, birthing stars like Asake, Seyi Vibez, and Shallipopi. On the homefront, a generation of younger stars also put unique spins on the sound. Singer, T.I Blaze, has been a notable star in the sub-genre since his 2021 single, “Sometimes,” and a subsequent remix with icon, Olamide, launched him into a different stratosphere.
Since “Sometimes,” Blaze has established his profile as a reliable source for songs that reflect the pulse of the streets while archiving his come-up story across a debut album (‘El Major’) and three extended plays like ‘The Fresh Prince Of Lagos’ and ‘Dangerous Wavy Baby.’ His 2024 EP, ‘Shakur,’ further underscored his evolution as an artist, featuring slippery numbers about escapism, his thoughts on life in the fast lane, and brotherhood with features from rising stars like Tml Vibez and BhadBoi Oml.
In 2025, the singer has picked up where he left off last year, releasing “Trenches Luv,” a balmy February release that examines the dynamics of romance from his point of view as a young adult moulded by the hard realities of life on the street. The success of “Trenches Luv” has led to a deluxe version of ‘Shakur’ with the singer adding seven new songs to the original version of the project. Impressively, on the new version of the project, TI Blaze taps up Ayo Maff and Ghanaian star Arathejay on “My Brother” and “Mario Remix,” respectively.
Led by a galala-inflected opener, “Track 1,” ‘Shakur (Deluxe)’ is both raw and complex with the singer sounding refreshed on songs like “My Brother,” “Dodge,” and “Introduction.” In many ways, this project is an invitation for listeners to explore the many facets of T.I Blaze’s artistry as well as a portent to celebrate his roots and offer a glimpse at his evolution.
Listen to ‘Shakur (Deluxe)’ here.
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Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
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