The Recurring Nightmare: When Will Kenyan Artists Get Their Due Respect?

Another day, another concert, another controversy. It’s a tale as old as time in the Kenyan entertainment scene: a major international act comes to town, local artists are added to the lineup, and by showtime, the inherent disrespect and contractual chaos become the main event. Today, we’re talking about the Asake and Gabzy concert at Nyayo Stadium, scheduled for this Saturday, December 20th. The talk of the town isn’t the headliners, but rather the bold, necessary stand taken by Kenya’s own Kodong Klan.

The group pulled out on the morning of the show, citing fundamental differences in contractual agreements and a blatant lack of respect from the event organizers. In a statement that has since gone viral, they simply said they did not feel valued enough to go forward with the performance. This is happening on a night when another major event, SOLFEST, is also taking place, highlighting the packed nature of Nairobi’s social calendar but also the fragility of artist relations.

The speed at which the Kenyan music community rallied behind Kodong Klan speaks volumes about how common this issue is. Leading the charge in support were none other than Bien from Sauti Sol and Willy Paul. Bien has always been an outspoken advocate for the proper treatment and compensation of Kenyan artists, previously praising Kodong Klan’s professionalism and rise. Willy Paul, however, shared a more personal and painful anecdote, revealing he and his entire team faced the exact same disrespect last year at a different show, the Furaha City Festival. This incident involved Tanzanian artist Diamond Platnumz and resulted in a major fallout, with Willy Paul’s fans demanding respect for local talent.

These instances aren’t isolated; they are symptoms of a deeply ingrained culture in the Kenyan events industry where foreign artists are prioritized and local talent is treated as a mere add-on or “supporting act,” regardless of their immense popularity or contractual stipulations. The problem goes beyond mere scheduling; it often involves backstage access, soundchecks, payment terms, and overall professional courtesy.

Kodong Klan’s decision, though disappointing for their fans who were excited to see them at the historic stadium event, is a powerful statement. It’s a refusal to accept second-class treatment in their own country. It’s a call for professional standards that align with global benchmarks, a sentiment shared by promoters aiming for “world-class production”.

It’s high time event organizers realize that respecting local artists is not an optional courtesy; it’s a professional necessity. Only when Kenyan artists are given the respect they deserve in their contracts and on the stage will this recurring nightmare finally end. Until then, the stand taken by Kodong Klan, supported by the likes of Bien and Willy Paul, is a necessary, albeit painful, step towards an equitable industry. Charity begins at home, indeed.