Chess Nthusi Calls Out Predators in the Kenyan Music Industry

September 25, 2025 12

Written by Edwin Agesa on Friday, 25 September 2025.

Kenyan singer Chess Nthusi has once again reminded us that behind the glamour of the music industry lies a darker, unspoken reality. While appearing on the Kisiangani Podcast this week, Chess revealed that some of the biggest barriers to women’s success in Kenyan music are not just financial or creative, but systemic predatory behaviour. According to her, there are powerful figures in the industry—ranging from popular radio presenters to fellow artists—who demand sexual favours from upcoming female artists in exchange for airplay, bookings, and visibility.

Her remarks were bold, timely, and uncomfortable. Chess asked the audience to reflect on a simple but powerful question: How many female artists are currently at the top? The silence that follows this question speaks volumes. The truth is that the number remains painfully small, and Chess was quick to point out that such gatekeeping practices play a major role in stifling women’s progress.

At Bloga Flani, this is not news. Just three weeks ago, I wrote about the same issue, and even earlier—three months ago—we dedicated an entire podcast episode to dissecting the challenges facing female artists in Kenya. From cases of sexual harassment to the lack of genuine support from producers and promoters, the patterns have been consistent. It’s a vicious cycle: young, talented women step into the industry with dreams, only to be met with demands that have nothing to do with their craft. Many either give in, walk away disillusioned, or struggle in silence while their male counterparts get easier paths forward.

The tragedy here is that talent is not the problem—access is. Kenya is brimming with gifted female voices, from rap to Afro-pop to soul. Yet, time and again, they are either sidelined or forced into negotiations that diminish their artistry and humanity. And when a few, like Chess, raise their voices, the industry often responds with denial, dismissal, or outright hostility.

It is commendable that Chess is daring to speak up despite the risks. Her revelations should not just be seen as gossip or controversy but as a call to action. For real change to happen, we need structures of accountability. Promoters, media houses, and record labels must commit to merit-based systems where women can thrive because of their music, not because of what they are coerced to give up.

This conversation is long overdue. And while Chess’s revelations may have ruffled feathers, they should push us closer to an industry where every artist—male or female—can succeed on talent and hard work alone.