Why Bongo Flava is popular in Kenya

Amidst the cacophony of city noise inside Mtwapa-bound matatu in Mombasa, or anywhere across Kenya, it is most likely that the music you will be blaring from the speakers is Bongo Flava.

Raga dance hall, despite being popular in Kenya, appeals slightly less than Bongo Flava, but stands slightly higher than indigenous music to Kenyan ears.

Artistes such as Diamond Platinumz, Lady Jay Dee, TID, Ali Kiba, Prof Jay, Ommy Dimpoz, TMK Wanaume and many others are household names in Kenya especially in Mombasa.

And even as the winds of fortune currently don’t seem to favour classic taarab, the modern taarab played by the likes of Mzee Yusuf, Hadija Kopa  and co is quite at home in the coastal region, too.

In most Christian households, Rose Mhando, Christina Shusho, Boniface Mwaitege and the late Zedekiah form top shelf collections ever.

This is not to mention on the call back tunes on almost every cell phone in the country where Rose Mhando is among the leading .

 Back in the days before Saida Karoli, Ray C and Mr Nice went into oblivion, they commanded great audiences  and adoration on the  Kenyan music scene.

These artistes simply awed Kenyan fans to the extent that bordered on madness.

 Indeed, whenever they landed  at JKIA, they received a reception befitting presidential welcome – complete with a red carpet and bouquets.  

Collectively, Bongo Flava’s popularity is not in the entrepreneurial side of music, but her aesthetic and artistic aptitude that has, like a bug caught East and Central Africa off guard.

Just take a look at a YouTube posting of Diamond’s performance in Eastern Congo or his concert at the KICC, Nairobi and perhaps you will understand what I am talking about.

It is at this point that we begin to seek answers so this particular question. Why are these lads and lasses such a big hit all over?

As argued by most pundits, Bongo Flava carries realistic overtures while the music by contemporary Kenyan musicians does not identify with the people, their problems, joy of realistic love – it is just far-fetched in nature.

Artistes such as Eric Wainaina and Kato Change are too alien to the local music industry to the extent that their main performances are outside Kenya.

 Some who identify with the young generation like Prezzo are far too flamboyant for most people’s liking.

The attempted cloning of American hip hop done in Kiswahili has to a large extent ended up in a mere fiasco. In fact, not many take them seriously.

Though they may appeal to a certain section of the youth the standards that they exhibit does not catch the ear of mature listeners and apparently, the music is very abstract.

While watching EA Mseto by Mzazi Willy Tuva, on Citizen TV the other day, it was visible that the Tanzanian brand had a larger share than Kenyan content.

Artistes such as Diamond and Lady Jay Dee top the list of artistes with their realism and creativity.

Lady Jay Dee’s singles ‘Joto Hasira’ and ‘Yahaya’ off her ‘Nothing but the Truth’ album are a manifestation of creativity as she tries to address the social ills that surround her community.

Listening to Diamond who only burst on the scene four years ago one cannot help but admire the artiste; his stuff has a lot of pep and strikes as a very creative and hardworking youth.

It is therefore, not surprising that even in the 70s when Simba Wanyika and Les Wanyika dominated the airwaves in Kenya; it was a group that was made of mainly Tanzanians who had crossed over.

Economic hardships of that time had made it difficult for them to do their music back at home but that didn’t stop them from being a hit.

This artistic knack perhaps is the reason why best cartoonists, artists and musicians are mostly of Tanzanian origin.

It is accurate to note that on average Tanzanians are better at putting pen to paper and coming up with lyrics that appeal to the masses sung in soothing vocals.

Though it is worthwhile to admit that on the marketing front Kenyans seem to be making more money, this does not necessarily mean they are making better music.

In this regard, Uganda and Tanzania trounce Kenya. Kenyan artistes do not understand their audience and the economics behind marketing to them.