Nyadundo still Kenya’s most valuable artiste

In the arts being copied is the best possible compliment one can get. In Kenya, “ohangla king” Tony Nyadundo is not only the most imitated artiste, but besides, he continued to put up  good showing in 2008. For this he undoubtedly ranks as the country’s most valuable musician to emerge over the past three years,

Tony’s use of the harmonica for melodic effect on a  repetitious ohangla groove that he popularised during 2008, compliments a vocal style that borrows heavily from the DR Congo’s  Madilu System.

This is testimony to the potency of the untapped reservoir in the Kenyan traditional music. All that is needed is spicing it up with contemporary wrappings for the evolution of a whole artistic sound with an enormous commercial appeal.

Indeed, ohangla is turning into something of an industry supporting scores of musicians from Nyanza province and dozens of clubs that use it to attract clientele.

More important is the fact that his efforts and those of his imitators have ushered in ohangla from the periphery of Kenyan music and placed it firmly in the mainstream to create a new national flavour.

The ohangla star has been on the scene for three years now, and has the potential of being around much longer.  Besides, the just ended year has raised the profile of Dholuo music to the level it occupied in the 1970s  when it rose to international prominence.

As D.O. Misiani (now late) raised the status of benga music, so does Tony of Ohangla.

There is a  related socio-political twist that contrasts, but works to the advantage of, Dholuo music. In the 70s, benga became the Luo medium for expressing the community’s disenchantment with the Government. They rallied to their music, but now its seems to be a celebration of their restored good relations..

The vibrant vibes are spreading far and wide with music from other regions riding on the wave of cultural awareness.

The year also saw the rise and rise of Kamba music, notably with Ken wa Maria scaling new heights, with reissues of the 70s recordings of Kilimambogo Brothers finding new favour.

The Kikuyu scene had John de Mathew show his endurance and Joseph Kamaru seemingly make suggestions at the secular music that he abandoned over a decade ago.

But  on the whole, the ended year lacked an exciting new star in the music scene, such as Tony and Esther Wahome two years. Remarkably both, did it in their individual ways and, while Tony  rode on the strength of his music, Wahome did it more through a star quality that carried her across the borders of gospel and secular music to become the one real star.

Commenting about her then, South African music producer Abe Sibiya  of Urban Brew Records had flattering words: “She has a good voice, looks good and a real star image that can be nurtured to take Kenyan music to greater heights”.

Esther has not had a  strong follow-up hit to Kuna Dawa, which was her vehicle to fame, and the vacuum has been filled by the posthumous success of Angela Chialonza, whose music has found increased favour since her death in a  road accident more than a year ago.

In a country where gospel music continues to enjoy rising favour, Jemimah Thiong’o may be the only success in a crowded field in which Kanji Kimani may be the only source of relief. But like secular music, gospel  lacks new ideas and not even the torrent of new artistes sufficiently conceals the deficiency.

This point was made during Chibalonza’s requiem mass by pastors who lashed at the artistes for what they called emptiness in their music. But in defence,  Robert Kamanzi said that part of the problem is the radio stations that choose to play only one type of song. “There are greats out there that never get featured,” he said.

The quality of production has improved tremendously and gospel can only grow in this new year.

On hip-hop and other varieties of urban youth music, which borrow from American music, the Kenya scene is still suffering an identity crisis, which it has to overcome in order to sell locally and probably internationally.

When she stopped over in Nairobi on her way to Rwanda a few years ago, former Fugees singer Lauryn Hill urged the urban youth to take the trouble to learn their craft and their understanding of music. “Learn to play an instrument and get to know how music works,” she said.

Several years on, Kenyan hip-hop is still using loops of US music, and this deprives it the character necessary to make it stand out in a world awash with similar-sounding music from mostly America.

Ultimately, the Americans will sell to their market because it is their music and they understand it, but Kenyans have a real problem even here at home.

Even with all the media support, that category of music (that includes local reggae) has not found its footing; it thrives through the deception of celebrity hype created by the media.  Music survives because it sells and the celebrity label has to be supported by sales and good concert turnouts for credibility.

So far, the good pointers are from earlier years. The first from Atoti by Wicky Mosh (late), which has a uniqueness that clearly stands out. No wonder, Nissan adapted it for a TV commercial that was run again in 2008.

Also effective was Vuta Pumzi by Longomba which is a clever way to pass the message of abstinence in the HIV/Aids war.

But one hopes that the music will find its own identity in the global mix of urban youth music, as has happened in Nigeria, Ghana and South Africa. But not to take away from them, they have made better videos with improved filming and concepts.

Internationally, the past year has brought new attention to Kenya, thanks largely to the post-election mayhem of early in the year, the Obamamania and the triumph at the Beijing Olympics, all of which put the country in the global spotlight.

The engagement of Valerie Kimani at the Joy of Jazz festival, Suzanne Owiyo at the Nelson Mandela birthday party and Wahu winning the MTV Africa video award are all good signs, but ultimately the real benefits can only be realised from CDs and digital music sales.

As in the past three years, the real international gains were in the continued good showing by music from the 70s. It started with the overseas chart entry by Orchestra Super Mazembe 70s  album, The Giants of East Africa, which has been on the selling ranks in the UK for the past four years.

It appeared to pave the way for the compilation album, Kenya Bengamania, and Habel Kifoto featuring Maroon Commandoes, which made its chart entry last year.

Early last year, the song, Kassongo, from the Mazembe album, featured in the American comedy movie, Phat Galz, becoming the second Kenyan 70s  hit to feature in the soundtrack of an international movie after Fever by Ishmael Jingo (late). It was in the award-winning Idi Amin movie, The Last King of Scotland, released in late 2007.

Ultimately, the lessons to learn are from the 70s, and AI records founder Mike Andrews says: “the 70s music has found a market because of its authenticity. It is African sound that is contemporary, and that is what musicians in other genres should learn”.

The real big sales are for songs that penetrate the pop charts, and this is what the artistes should be targeting,” he says, adding: “It takes originality to get there.”