Kenyan music producer Motif Di Don has responded to music commentator Jakes Nyanjom following a discussion about the quality of some Kenyan songs that have recently gone viral. Nyanjom questioned whether the industry could be doing more to promote stronger music, raising concerns about what he viewed as a growing acceptance of mediocrity. His comments touched on a wider conversation about the relationship between virality, artistic quality and the standards expected from Kenya’s music industry. Motif, however, pushed back against the criticism and pointed to Dazlah and his latest release as evidence that Kenyan artists continue to create and release fresh music. The exchange has added another layer to an ongoing debate about what success should look like in Kenya’s rapidly changing music scene.
Nyanjom’s remarks reflect a concern that has become increasingly common in discussions about contemporary African music. Songs can now become popular through short videos, social media trends and online conversations without necessarily receiving traditional radio or industry backing. This has changed the way audiences discover music and has also made virality an important measure of commercial success. However, popularity does not always mean that a song represents the highest level of songwriting, production or musicianship. Nyanjom’s question about whether the industry is promoting mediocrity therefore speaks to the tension between giving audiences what they enjoy and maintaining artistic standards.
Motif Di Don responded by directing attention to Dazlah and his latest song. Rather than allowing the conversation to remain focused on criticism of viral releases, the producer used the release as an example of the creative work still coming out of Kenya. His response suggests that the industry should not be judged solely by a selection of songs that dominate social media conversations. There are artists working on new material across different genres and audiences, even when their releases do not receive the same level of attention as viral tracks. By highlighting Dazlah, Motif presented a practical example of an artist continuing to contribute new music to the Kenyan scene.
Motif Di Don has established himself as an important figure in Kenya’s contemporary music industry, making his response particularly relevant to the discussion. Producers often have a different perspective on the health of a music scene because they work closely with artists during the creative process. They also have to balance artistic decisions with audience expectations, commercial considerations and changing musical trends. Motif’s response appears to defend the broader creative ecosystem rather than simply dismissing Nyanjom’s concerns. By pointing to an active release from Dazlah, he reinforced the argument that there is still meaningful creative activity taking place within Kenya.
The example of Dazlah also brings attention to the importance of discovering music beyond the biggest viral moments. Established and emerging artists often release songs without receiving immediate mainstream attention. Some tracks take time to find an audience, while others gain traction through performances, word of mouth or online platforms. When conversations focus heavily on viral songs, these releases can easily be overlooked. Motif’s decision to highlight Dazlah’s latest song therefore shifts attention back to the wider pool of Kenyan musicians who continue to release new material.
The disagreement also raises questions about how the Kenyan music industry should measure quality and success. A song that becomes popular can have genuine cultural value because it connects with listeners and creates a shared moment. At the same time, critics and industry professionals can reasonably question whether popularity should be the only standard used to determine which music deserves attention. Strong songwriting, production quality, originality and consistency remain important factors in building a sustainable music industry. The challenge lies in creating room for commercially successful music while also supporting artists who are pushing themselves creatively.
Social media has made this debate even more complicated because audiences now have a major role in determining which songs receive attention. A track can move from relative obscurity to widespread popularity within a short period if users adopt it for videos or other forms of online content. This gives independent artists opportunities that may not have existed when radio and traditional record labels controlled much of music discovery. However, it also means that songs designed around short-form trends can sometimes receive more exposure than releases that require deeper listening. The debate involving Nyanjom and Motif reflects this changing relationship between audience behaviour, digital platforms and the music industry.
There is also value in having critical conversations about Kenyan music without reducing the industry to either success or failure. Nyanjom’s criticism raises questions about the standards being applied to popular music, while Motif’s response points to the need to recognise artists who are still producing new work. Both sides of the conversation can contribute to a healthier industry if the focus remains on encouraging better music rather than simply dismissing different tastes. Kenya has a diverse music audience with different preferences, meaning one song cannot represent the entire state of the industry. Looking at a wider range of artists and releases provides a more balanced picture of what is happening in Kenyan music.
Motif Di Don’s response ultimately reinforces the idea that Kenya’s music industry cannot be judged by viral songs alone. While Jakes Nyanjom questioned the quality of some popular releases and asked whether the industry was promoting mediocrity, Motif countered by pointing to Dazlah’s latest song as evidence of ongoing creativity. The exchange highlights the importance of recognising both the strengths and weaknesses within the local music scene. Viral success will continue to shape how audiences discover music, but artists who consistently release fresh and original work also deserve attention. As the conversation continues, the Kenyan music industry faces the challenge of supporting popular music while creating greater space for quality, innovation and long-term artistic development.
