“Shrap over the rest”: The rise of a Kenyan genre for the youth, by the youth
“Shrap ni injili”
As a global phenomenon, rap music’s most popular sonic trends reaches beyond its origin point, inspiring inventive twists from artists thousands of miles away. In recent years, rap music in Kenya has made this form of creativity compelling, through its exploration, and eventual localisation of Trap and Drill. In comparison to Kenyan Drill, which only started finding its identity recently, the Kenyan iteration of Trap–colloquially referred to as Sharp–is an identifiable, vibrant and vital part of its rap scene.
According to pioneering artists like Musau Mumo, Jovie Jovv, Nziira and Boutross Munene, Shrap is Swahili and Trap fused with the main goal of representing the Kenyan lifestyle. These artists want to depict the wins and losses of an average Kenyan and from this, they coined Shraplife. Shrap yielded a culture filled with fashion, flamboyance, bravado, and nonchalance, backed by a sound that is equal parts sinister, exuberant, blunt and hard-hitting. It has been a driving force, especially in the urban peninsula of Nairobi City where the population is mainly young people.
In the sub-genre’s earlier days, Kenya’s mainstream was more tilted towards popular regional acts like Diamond Platnumz and farther international artists. It was not until 2017 that Shrap gained attention with the release of the visceral “Kiasi” by Jovie Jovv. The certified banger rampaged through the mainstream with Trap music’s characteristic 808s kick and the fuzzy voice delivery from the Shrap pioneer. To further amplify the single, Jovie Jovv, with the help of Fred Matunga, directed a searing video depicting a quintessential life on the streets that involved drugs. As “Kiasi” stamped the Shrap image in the scene, Jovie earned the gilded title of Shrap OG.
Even with this prime example, the content of a Shrap song isn’t limited to just trapping. Many artists in the scene also touch on the bleak standard of living in the hood, making detailed and sometimes affecting observations of life in the streets. For instance, “Tofauti/Different” by Boutross primarily touches on mental health, even circling in on suicide. These days, Boutross is seen as the image representing Shrap. A lanky fellow with a prolific output, he disregarded the old rap star metrics of greatness, like the use of heavy wordplay and sturdy flows, and instead perfected his art in storytelling.
Boutross started rapping at the age of 12, with his musical career kicking off later in 2013. With popular for hit songs such as “Yea Yea Yea” and “Story Ilianza,” he is Shrap’s most successful story yet. He managed to find his voice in his knack for emphasis and his aptitude for infectious vocal versatility, becoming an integral cog in Shrap morphing into a gargantuan beast and bypassing industry gatekeepers. In Nairobi, Shrappers and keen fans often say “Shrap is the gospel,” after Boutross’ legendary line, “Shrap ni injili.”
In 2019, Boutross became the first Kenyan artist to feature on the EmPawa100 initiative, receiving a $3000 grant to shoot the flashy music video for “Wrong,” a booming, Shrap slapper that would become a national hit and gain heavy airplay despite its gritty lyricism. Doubling up as a producer, Boutross has become a significant name in the music industry as a creatively restless artist. More than anyone, he has used the frictions of modern Hip-Hop to his advantage. All at one, he is a rapper and a singer, a raw emotional purger, a street-centric braggart and a hopeless romantic.
Boutross is idiosyncratic and identifiable enough that he’s become the go-to man for bold collaborations, teaming up with Nviiri the Storyteller on “Sin Thea,” and showing that Shrap has even bigger crossover potential. From finding his voice on 2018’s ‘Billy Jean’ EP to the scene-defining ‘6IXVIEWSII8K’ mixtape, which earned him the 2019 UnKut Hennessy HipHop Awards Best Male Artist, Boutross’ growth has not only cemented his music prowess, it has also mirrored the wondrous evolution of Shrap over the years.
The boom of Shrap culture goes beyond the glorification of good times and has a lot to do with the democratisation of new technologies. Shrap music with its three-note synths and overdose of Auto-Tune, spread from just Swahili to vernacular languages. Kenya’s Wuod Baba identifies as a Shrap artist spreading the Dholuo Trap. His discography shows that music is more than just a language but an emotion that brings people together through melodies. While new names continue to crop up in the scene, Kay Gren is a much smaller name that hovers around Shrap’s pioneer days. His unique rapping timbre is perhaps what set him apart when he first debuted on the scene. Known for his feature in the mega-smash hit “Kibare Kwa Face,” his current absence keeps his fans on the verge of their seats waiting for his comeback.
For Shrap, lack of airplay did not stop the eventual breakout with key players taking a DIY approach that’s clearly paying off. Musau Mumo teamed up with Boutross to form ADF, a label that consists of Shrap artists Boutross and Dope-I-Mean. While the music is clealry essential, the power players behind the label act as the driving force to the success of Shrap. The label offers services such as studio time, which is still an issue for most artists on the come up.
Musau also kickstarted Shrapnite, a showcase event for rising Shrap artists in and around Nairobi. There’s been about a half-a-dozen successful editions of Shrapnite since 2018 that have geared the recognition and growth of the genre, providing a platform to a medley of rappers, including NATIVE uNder alum Groovy Jo. One of the few female rap artists associated with Shrap, her flow, lyrical precision, and refusal to self-censor defines her growing catalogue. She is frank and outspoken about her sexuality and her desire while still commanding respect as a lyrical savant and dynamic rap artist.
As Shrap keeps evolving and with the sound becoming indelible to Kenyan youth culture, DJ’s have also played a great role in its continued proliferation. Dj Mawinch is a propelling force to the sound. Making numerous Shrap mixes, Mawinch has been pivotal in spreading the sound to his peers. Apart from that, he designs custom clothing pieces dubbed “Renots Apparel,” which is often seen in Shrap videos. For Mawinch, his role in Shrap is playing unheard creatives as he has become an icon in the industry. To varying degrees, other key DJ’s like DJ Abubaxter, DJ Hanuman, Magnum the DJ and GI Selects have also been monumental in the shaping of Shrap.
Becoming an even bigger regional deal within East Africa’s thriving music scene, Shrap Nite has collaborated with the Nyege Nyege festival, a 4-day international music festival known for its unique East African feel and outlook, to create a sprawling line-up for a 2020 showcase that included Ohms Law Montana and Denzel Kong. This is validation for the fact that Shrap music resonates with the urban youth as their voice, through the inventiveness and authentic expression of its purveyors.
Shrap openly embraces capitalism with its lyrics about success, fame, luxury and money, and its neoliberal pragmatism with a do-it-yourself basis provides testimony that you do not need a big record company to make it big. It is a way of saying “we don’t accept the rules of the game anymore, now we’re going to play it our way.” Shrap has positively added to the music community in Kenya as it is propagating musical democracy among its new and nascent acts.
Shrap is not merely a music genre but a way of living, dressing, talking, and self-expression for an entire generation. From social media networks to dance floors and has put up its functioning codes and systems. You might or might not love Shrap but like any music genre, the diamonds are beneath the surface.
FOR THE GIRLS: HOW WOMEN’S PLACE IN KENYAN MUSIC CONTINUES TO EVOLVE
Fido Wants To Leave A Mark
Building on the momentum of hits like “Awolowo" and “Joy Is Coming,” ‘Olayemi’ marks a pivotal...
Confidence is a rare trait that eludes many, but Fido, born Olayemi Josiah Awosika, wields it like a maestro conducting a symphony. Growing up between Lagos and Matogun in Ogun State, locales where hope and grind intertwine, Fido describes his childhood as amazing. “I was born in Lagos, but my parents are from Ondo State,” he tells The NATIVE. “I don’t have much to say about it, but I had a great childhood with the best parents in the world. They supported me, and I’m grateful for that.”
Unlike other artists who inherited their passion for music from family, Fido’s interest came about by self-discovery. “My music came from within me,” he says. “No one in my family is a musician or into music professionally. I discovered this talent in me, and it just felt natural to pursue it.” That realization hit at age 14, igniting a zeal that propelled him toward the industry. “That’s when the zeal to pursue music hit me,” he recalls. “I knew I wanted to make a name for myself in the industry.”
Inspired by Afrobeat legend Fela Anikulapo-Kuti, Juju great King Sunny Adé, and Fuji icon K1 De Ultimate, Fido developed his unique style, drawing on the soulful storytelling style and infectious energy of the trio’s music. “Their music had soul and told stories that connected with people,” he explains. “That energy and authenticity pushed me to create my sound.”
Fido’s breakout single, “Awolowo,” released in 2024, became a defining moment for him, blending melodic Afropop grooves with streetwise lyricism, the song elevated him to the top of the genre. “It’s a ganja vibe, you know?” he says, laughing. “When I heard the beat, the inspiration just flowed naturally. It was divine, like the music came straight from my soul.” Navigating fame has been a learning curve, but Fido has embraced it with gratitude. “It’s been great, but it’s also a learning process,” he admits. “Fame comes with new responsibilities, and I’m figuring out how to grow and develop myself.”
For Fido, timing is crucial, yet the singer believes there’s no such thing as a perfect moment to share his music. His debut EP, ‘Olayemi,’ was released on August 1, 2025, marking a vibrant, new chapter in a journey ignited by self-discovery all those years ago. “There’s no perfect time, you know?” he says with a grin. “My fans kept asking, ‘Fido, when’s the project dropping?’ So, I worked with my team, and we decided it was time to put it out.”
Building on the momentum of hits like “Awolowo“ and “Joy Is Coming,” ‘Olayemi’ marks a pivotal milestone for the singer. With a title taken from his birth name, the EP is a deeply personal reflection of his upbringing and journey. “The project is about me, my culture, my upbringing, and my roots,” Fido explains. “It’s about letting people know who Mr. Fido is.” The eight-track project, curated from a vault of recordings spanning years, balances introspection with infectious energy. “I’ve been recording for years,” Fido notes. “For ‘Olayemi,’ I picked songs that felt right for my fans and aligned with my story.”
Across its tracks, ‘Olayemi’ captures Mr. Fido’s remarkable journey from the quiet streets of Matogun, a border town in Ogun State, to the global music stage. The EP traces his path from a struggling unknown to a rising artist on the cusp of stardom, weaving tales of hardship, hope, and triumph. Songs like “Lungu” and “Boko” lay bare the weight of his past struggles, while “Money Moves” channels a buoyant resolve and “Dollarpor” blends Yoruba and English to manifest future success.
Fido’s creative process is a masterclass in effortlessness, a quality he proudly owns. “It’s always easy for Mr. Fido,” he declares with a laugh, a mantra that defines his approach to music-making. “I get in the studio with my producer, he plays the beat, and I vibe. Sometimes I write, sometimes the inspiration hits right there. It’s natural. When asked about challenges in the studio, he doubles down on his confidence, “Nah, it’s always easy for Mr. Fido.”
That ease shines through on ‘Olayemi,’ seeing the singer blend Fuji and contemporary pop influences to create a sound that feels both nostalgic and fresh. His ability to let the music flow without forcing it has become a hallmark of his artistry, setting him apart in an industry often marked by overproduction.
In all, the release of ‘Olayemi’ is a defining moment for Fido, who describes it as “a huge milestone and a step toward greatness.” He’s thrilled with the response from his fans, who have embraced the project with enthusiasm. “The reception has been amazing, fans are streaming it, and they love it,” he shares, his excitement palpable. “When you listen to the EP, you hear my story, my upbringing, and where I come from. It’s personal, and I’m thrilled that people connect with it.”
As he looks to the future, Fido is focused on taking his music to new heights. “Expect more greatness,” he declares. “I’m aiming to take my sound international, representing us on a global stage. I want to be a good example for the genre, both locally and worldwide.”
Listen to ‘Olayemi‘ here.
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Best New Music: Luwa.Mp4 Lays Bare The Anxieties Of A Non-Conformist Lifestyle On “pEEP MY RIDE”
On "pEEP MY RIDE,” Luwa.Mp4 is able to force a confrontation with the misunderstanding that accompanies a...
Luwa.Mp4 has always committed to the part right from the start. The rising singer and rapper presented himself early on as a musical chameleon who embodied the Punk ethos of non-conformity and a do-it-yourself ethic. If his fluid songs which mostly fused Hip-Hop with elements of Rock didn’t convey his message adequately, his outlandish fashion choices drove home the point.
His signature mohawk and audacious fits earned him the “alté Balotelli” moniker as he also channelled some of the football maverick’s mercurial spirit. He’s kept that unwavering commitment to this artistic vision alive on his recently released debut album ‘punKstA*,’ a definitive and concise body of work that helps solidify his creative identity.
Across the album’s 12 songs, Luwa.Mp4 expands on his auto-tune-drenched, sing-rap melodramatic multiverse, displaying the remarkable dynamism that has established him as one of the most unique and daring acts around. On the pounding album opener, he declares himself a “staR” rapping, ‘Apart from the fact that you ain’t got my teflon, nigga I’m the best and no one’s reaching me I swear,’ with the confidence and arrogance of a certain American controversial rapper-producer phenom.
He goes on to back up this claim through the album’s 25-minute runtime, fusing genres like Punk Rock, Afropop, Hyperpop, and Rap with a breezy nonchalance while also making frequent excursions into Electronic music terrain. Arguably, the album’s strongest offering comes in the form of “pEEP My RIDE,” one of the few downtempo cuts that appear in the project’s second half.
Produced by JTRN, “pEEP My RIDE” is an instant feel-good record that evokes some of the nostalgia of the MTV television series that its title slyly references. It’s the kind of music you want to drive around town with the top down to. “This is the Lagos living, ooh? (Ooh) / Yes, I’m driving in a Lexus, down Bourdillon Road,” he sings coolly in the record’s opening seconds.
The first verse, however, gives a depressing glimpse into the shared reality of many young Nigerians, but more peculiarly, one that he faces due to his lifestyle and creative choices. “First stop I see police but they won’t stop me / Coz me and cyk riding in a big body / Only thing they could ask me for is a lil’ money / But they won’t tell me, “Get down,” they think I’m somebody’s son,” he sings.
The follow-up lines paint a more frightening picture: “If I was in an Uber, it wouldn’t be fun / They always say I’m a scammer or I have a gun / Acting like I’m Jeffrey Dahmer but I’m not on the run.” It’s relatable and distressing, but like many great artists, Luwa.Mp4 manages to turn some of his most morbid experiences and moments into something truly compelling.
After crossing the first metaphorical checkpoint, the rest of the ride/record feels more celebratory and less anxiety-laden. The song eventually transitions into the more boisterous “pAPARAZZI,” as he resumes making bold artistic choices and claims that deliver on the album’s title. However, through the sticky melodies and ambience of “pEEP MY RIDE,” he’s able to reflect on the price of choosing and living a non-conformist lifestyle, forcing a confrontation with the solitude and misunderstanding that accompany a path less traveled.
Listen to ‘punKstA*’ here.
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DEELA Teases Forthcoming Mixtape ‘Wicked’ With Unapologetic “Slide”
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic...
Rising rapper DEELA has shared a new single titled “Slide.” The latest release comes as her third official single of the year, as she continues to build anticipation amongst her growing fanbase for ‘Wicked,’ a new forthcoming mixtape that she has been teasing for a few weeks now. The mixtape, which is set for release imminently, will arrive a few months shy of a year since her last project.
After kicking off 2025 with a couple of producer edits of “Kryptonite,” one of her standout releases from last year, DEELA released the bouncy “HEATER,” her first official single of the year, which featured Genio Bambino and American rapper and producer Vayda. A few weeks later, she released the fiery “Supreme Dee,” a self-assured bop where she declared herself, ‘The one, the truth Supreme Dee.’
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic shit talking in usual DEELA fashion. The pace here is a lot quicker than her earlier releases from the year, as she mouths off about the jewellery on her wrist and her dislike for hypocrites over pulsating drums and swirling synths. ‘Used to be shy, so meek / Bro fuck that, I want the whole world now,’ she raps confidently with the same brazen swagger that continues to earn her a growing audience.
The forthcoming ‘Wicked,’ will come as the follow to 2024’s ‘Good Girl No Dey Pay.’ Shortly before the release of “Slide,” the rapper appeared on Foundation.fm, a female-led community station where she revealed that the new mixtape will feature 8 tracks, a couple of fun features and different sounds.
Listen to “Slide” here.
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