Regardless, he advised upcoming Kenyan artistes to keep their heads up above the water.
“If you want to become relevant in Kenya, just claim Kenyan artistes are lazy and sh*t or Kenyan music is trash. But to the real fans who support (us), let’s keep pushing. We will rise slowly but surely and to all the aspiring musicians on the come up, don’t let them demotivate you,” Khaligraph said.
“Online criticism is needed for growth but that should never give you the impression that people are not doing okay. We came into this game with nothing and used this music to change our lives. Let’s strive to make it better, so far so good” he went on.
Khaligraph’s encouragement comes in the wake of ongoing criticism of Kenyan musicians who allow themselves to be optional picks to foreign artistes who have been flocking to country and getting paid handsomely to perform in concerts.
At the forefront of this criticism is comedian Eric Omondi who has been calling for 75 per cent airplay of Kenyan music on Kenyan airwaves – a scene in which Western Africa, bongo and amapiano music continue to dominate.
Omondi has been in long running online spats with Khaligraph, Nadia Mukami and top boy band Sauti Sol who recently faced backlash for inviting foreign artistes to perform at their Sol Fest.
Omondi’s stance is that foreign artistes should not be allowed to dominate the Kenyan music scene because they would soon be heard opening lucrative businesses in Kenya while Kenyan artistes are not even renowned in other nations.
At the same time, some critics have also been accusing some Kenyan artistes of expecting loyal support from them but go on to produce subpar, unpalatable music always themed around the objectification of women and sex.
This has been the staple of gengetone music which continues riding its death bed as more artistes embrace “cleaner” content where some of the same topics are sugarcoated with soothing/complicated words but still revolve around alcohol, partying, enjoying women and sex.
