If Tanzania is a train, moving slowly but surely on a well-designed track, Kenya is a matatu: rowdy, colourful, intense, rude, vibrant, arrogant, overbearing, capricious, and drunk on its own hype.
“Kaskie vibaya huko kwenu!” A retort. Witty. Acidic. It stings. Go cry at your home. Go be in your feelings at your home. Go be in your emotions at your momma’s house. Go feel bad somewhere else. If you are not familiar with the phrase, you might be the only Kenyan who isn’t.
If Nairobi is a woman, Silas Nyanchwani is the lecherous poet who praises the curve of
her thigh and the fullness of her breasts. Nairobi is not a woman.
In my mind, Octopizzo was like Lex Luther, but in the rap world. Or like Fifty Cent, who is the biggest villain in the US rap scene. In contrast, I saw Khaligraph as the hero, the kid who survives in the world through grit, guts, and wits.
"Our first album Ndani ya Cockpit 1 was boom bap, our second body of work Ndani ya Cockpit 2 was trap, and Victims of Madness was drill. This shows we are versatile and can do it all. Fans should expect more surprises from us going forward," says Domani Munga.
Her name was Irene Nzioka. She lived with her sister. We started chatting the way people do when on a queue.
“Do you know I have been to fifty-four interviews so far,” she said.
