THIS IS HOW IT WAS AT AFRICOLOGICALLY BEING
This Is How It Was At Our Africologically Being – The Eventful Party
Finally, as if they had all planned behind our backs, the artists started trickling in at around 3pm (they’re always late, this lot). But that was just a cool breeze on a fresh blister because having artists with no audience is like serving a delicious meal with no guests on the table. But God never created artists only for good times; they were made for painfully abashing moments too.
Some of the musicians had stated early enough that they had other commitments and therefore wished to leave early, but here we were waiting for people to turn up for five good hours. Luckily, the neighbors and surrounding offices had also threatened to shut the party down should we disturb their peace before 6pm, so the musicians gathered in a corner with acoustic guitars and started jamming. Rappers, guitarists, beatboxers, singers, poets and a few random spectators all constituted an impromptu session of jamming which in turn led to the death of time, exchange of ideas, knowledge and contacts too.
At exactly 6pm, our first performer Missing Rotich hit the stage with extremely rare and highly comical satirical lyrics. The guitarist fuses comedy with acoustic guitar melodies on heavy electronic beats. Even though tribal jokes are fast-fading from the urban comedy arena, his are still freshly different and hard to shun away because he comes from the Kalenjin tribe-the tribe that produces all the greatest runners from Kipchoge Keino to David Rudisha. They are also known to be the worst English speakers because some of them come from the deeps of rural areas to break records at international championships where they have to answer a myriad of questions from international press.
“Me I come from a family of racists; my grandfather was a racist, my mother is a racist, and as you can see, I’m also a racist.” Goes the story of one race champion when asked about their racing history. At one point, Missing Rotich says that in his community, before a parent sends a child to the market, they count down like, “one…two…three…GOLD!”
At 7pm, the real Watuz (people) of Nairobi started checking in as poet Alexander Ikawa took the throne of Dj Raph who never turned up due to day job duties (but it was now 7pm…you see artists struggles) playing some funky Fela Kuti to Felabrate Africa.
Before long, the Creatives Garage garden was a full pot of boiling creativity. Slightly older rappers like Monaja and Manjoro shared the stage with equally conscious and furiously talented young cats like RIZE and M.B.U.Z.I. The new age of Nairobi’s music and art scene was all represented by a vast and eclectic curation of performers from the brilliant stand-up comedian Brian Onjoro, underground champ Moroko Kalahari and spoken word heavyweights led by Dorphan, G-Cho Pevu and MC Teardrops.
A good party is never until there are some beautiful ladies in the house and that’s why Waksy’s soulful melodies were complimented by a myriad of other solo and collaborative performances including Ondi Na KADHALIKA, Elia, Kenna, ACHI3NG and even the eight year old singer/guitarist Esther. In that very underground spirit, we also welcomed some artistic gate crushers-artists that were not on the initial plan to grace the stage, and that’s how we discovered the super groovy and real Nairobi dance music protégés Maramia and comedian cum rapper Geita who’s SWARP (Swahili Trap) song Lala (sleep) woke up the audience instead to the groovey Kamba House tunes and energetic dance routines of Boneless Thyaka.
Finally, we all felt so uplifted by the graceful, tighter-than-virginity performance of Beracca featuring Matt Smawfield and Abakisimba.
Many thanks go to Creative’s Garage for being such cool parents to the artistic urban youth that a few years ago had no home and Dj Jack Rooster who dedicatedly sound engineered our party to the end.