Bien has called for Gengetone to be given another chance, arguing that the Kenyan music genre did not get enough time to develop before the COVID-19 pandemic disrupted its momentum. The singer believes the pandemic pushed Gengetone to the back burner at a crucial stage when artists were building audiences and developing the sound. According to Bien, the disruption also affected the livelihoods of musicians who depended on live performances and other music-related income. He now believes Gengetone deserves another opportunity to return to the spotlight. His comments have reopened a debate about the genre’s place in Kenya’s changing music industry.
Gengetone emerged as a distinctive sound within Kenya’s popular music scene, particularly among younger audiences. The genre became known for its energetic production, Sheng-heavy lyrics and direct reflections of youth culture and everyday experiences. Its rise created a new platform for artists and producers who wanted to move beyond established sounds in Kenyan popular music. Several Gengetone songs gained significant attention and helped the genre become a major part of the local music conversation. For a period, Gengetone appeared to have strong momentum and a growing audience both inside and outside Kenya.
The COVID-19 pandemic changed the environment in which many Gengetone artists were operating. Restrictions on public gatherings affected concerts, club performances and other events that provided important income and exposure for musicians. Artists also faced wider economic pressures as businesses and entertainment venues struggled during the pandemic. For a genre that had built much of its energy around youth culture, nightlife and live entertainment, the disruption created a difficult environment. Bien’s argument is that this interruption happened before Gengetone had a fair opportunity to establish itself over the long term. He therefore sees the genre’s current absence from the center of the mainstream as partly connected to circumstances beyond the artists’ control.
Bien has also pointed to nostalgia as one reason Gengetone could receive renewed attention. Songs associated with the genre remain familiar to many Kenyans who experienced its rise. A revival could allow listeners to reconnect with music that defined a particular period of Kenyan youth culture. At the same time, a new generation of artists could reinterpret elements of Gengetone rather than simply reproducing its earlier sound. This could create room for collaborations between established musicians and younger performers. The idea of giving Gengetone another chance therefore does not necessarily mean returning to the exact sound or trends of its earlier period.
Babakaunty has taken a different position and has rubbished Bien’s call for a Gengetone revival. He argues that the genre’s time has already passed and questions whether it can regain the influence it once had. His criticism focuses partly on the production practices associated with some Gengetone releases. He said many artists used sampled beats without owning the necessary rights, which he believes created problems for the genre’s long-term development. Rights ownership and music licensing can affect how artists distribute songs, earn revenue and build sustainable catalogues, making the issue relevant beyond Gengetone itself.
Babakaunty has also criticised some of the lyrics used in Gengetone music. The genre has often attracted debate because some songs contain explicit language, provocative themes or descriptions of youth experiences that some listeners find controversial. Supporters have viewed that directness as part of Gengetone’s identity and its connection to street culture. Critics, however, have argued that certain lyrical choices limited the genre’s ability to reach wider audiences and sustain mainstream acceptance. These differing views show that the debate is not only about whether Gengetone should return, but also about what kind of Gengetone could succeed if artists attempted to revive it.
The disagreement between Bien and Babakaunty reflects two different interpretations of why Gengetone lost its position in the mainstream. Bien places significant emphasis on the disruption caused by COVID-19 and the loss of momentum that followed. Babakaunty points instead to structural and creative issues, including questions around sampled music and the content of some songs. Both perspectives highlight factors that can influence the development of a music genre. A temporary interruption can affect an emerging movement, but artists also need sustainable business practices and creative evolution to maintain a long-term presence. The debate leaves open the question of whether Gengetone declined because its momentum was interrupted or because the genre had already reached the limits of its original formula.
A possible Gengetone revival would also take place in a very different Kenyan music industry from the one that existed during the genre’s early rise. Streaming platforms and social media have changed how artists release music and build audiences. Short-form video platforms can help songs gain attention quickly, while digital distribution gives independent artists more ways to reach listeners without relying entirely on traditional gatekeepers. These changes could give a refreshed Gengetone sound an opportunity to reach audiences if artists develop music that connects with current listeners. However, digital access alone does not guarantee that an old genre will regain its previous cultural influence.
The question of music rights would also remain important for any renewed Gengetone movement. Artists and producers need clear agreements covering samples, compositions, recordings and other elements used in their music. Proper rights management can help musicians protect their work and create opportunities for legitimate commercial exploitation. It can also reduce disputes that may arise when songs become popular and generate significant revenue. If artists build new Gengetone music with stronger attention to ownership and licensing, they could address one of the concerns raised by Babakaunty. That would allow the genre to develop commercially while giving artists greater control over their catalogues.
Gengetone’s future may also depend on whether musicians can adapt its defining characteristics to contemporary Kenyan culture. A revival based entirely on recreating older hits could appeal to listeners who want nostalgia, but it may struggle to attract people who did not experience the genre during its original peak. New production techniques, fresh collaborations and current social themes could give the sound a different identity. Artists could also combine Gengetone influences with other Kenyan and international styles without abandoning the elements that made the genre recognizable. Such an approach would treat Gengetone as an evolving musical form rather than a sound permanently tied to one period.
Bien’s comments have therefore brought renewed attention to a genre that played a significant role in Kenya’s recent music history. His view is that Gengetone was interrupted before it had a full opportunity to mature and that listeners may still have an appetite for its sound. Babakaunty’s response raises different concerns about the genre’s creative direction, music rights and ability to make a major comeback. The contrasting views illustrate why the future of Gengetone cannot be explained by a single factor. Whether the genre returns to mainstream prominence will depend on what artists, producers and audiences do with its sound in the current music environment.
Gengetone remains part of Kenya’s musical story, regardless of whether it experiences another major commercial peak. Its rise demonstrated the ability of young artists to create a sound rooted in local language, culture and contemporary experiences. The disruption caused by COVID-19 affected the wider entertainment industry, while concerns about music rights and lyrical content have also shaped discussions about Gengetone’s sustainability. Bien sees an opportunity to revisit the genre, while Babakaunty believes its strongest period has already ended. For now, the debate itself shows that Gengetone continues to generate interest and discussion within Kenyan music, leaving its next chapter dependent on whether artists can give the sound a fresh identity that connects with today’s audience.
