Matata - “Gengetone is our way of life”

Ken, Festus, Marcus, Richie and Freddy. [top to bottom, left to right] (Source: www.matataofficial.com)

“Gengetone is our way of life. In Nairobi, how people speak (Sheng, and a mix of Swahili and English), that’s what we put in our music. What we sing in our music is what you’ll find in the streets of Nairobi”. Richie of Matata speaks so profoundly on Gengetone, and as a group, they speak with pride in conjunction with the rise of the genre as being synonymous with their success. Music scenes in Kenya have come and gone, though now more than ever, Kenyan youth strongly believe Gengetone is their newest export with the potential to present an enlightening and revolutionary dimension to Kenya’s cultural scene to the rest of the world. On a rainy Saturday afternoon, I had the pleasure of being in the [virtual] company of Richie, Freddy, and Marcus of the five-strong collective to speak on their journey, future plans, the admin of making a music video and the importance of representation across the African continent and diaspora.

Originally, all five were part of separate dance collectives, before meeting in Kenya to form their music band, with some members of the group meeting by chance. Freddy explains “some of us have grown up together, when we came here (Norway), and met it was a coincidence. Richie was the magnet that brought us all together, through a Kenyan connection for that link up”. They have since established a strong brotherhood, working off each other’s ideas to create art in the studio with an impressively consistent work rate. Currently residing in Norway, Matata have amassed a significant following within Kenya and now too the Norwegian border through their infectious spirit. Having just released excitable visuals for their latest single “ACHUU”, the group is showing no signs of stopping in their impressively experimental pursuits.

What is immediately noticeable within their art is their choreography, which is impressively slick and now intrinsically associated with their identity. Bands incorporating dance choreography as part of their identity is no longer an important convention of popular genres like Hip Hop and RnB like it once was during the late 20th century, and particularly the noughties. However, Matata are putting up their proverbial middle finger to the status-quo, remaining true to who they are, bearing in mind their origins lie in dance. Combining such with diversity within their music sees Matata are one of their flag-bearers of Kenyan music. Whether it be the sultry guitar-strung melodies of “Gengetone Love” or the dynamism in the bass-fuelled thumper “Mare Mare”, Matata are displaying the musical versatility that highlights the level of talent in the group. Their essence of self-belief and veritable creativity has fuelled their meteoric rise as they continue to redefine the Kenyan music scene.

Matata in their official music video “Mare Mare”. (Source: YouTube)

At the centre of Matata’s movement is Gengetone, a genre encapsulating the essence of the Kenyan streets. Enriched by Reggae, Dancehall and Reggaeton influences, combined with elements of older Kenyan music genres, Gengetone is a bustling spectacle of musical chemistry. Comparatively, there was a period during the 80s to the mid-90s where British rappers often emulated their American counterparts in music. Kenyan artists widely have done similar in present-day music, though soon Kenyans began to yearn for a sound they could call their own. Though early-90s Kenyan genres like Hip-Hop and Reggae influenced Genge-rap and Kapuka precedes Gengetone, the latter emits the voice of today’s youth. “Gengetone music, the way it started it was more about expression because people previously were really limited on what they could say. But now with Gengetone wave, came with it a wave of expression, of how things are, how people are [feeling], without any filtering”, Freddy asserts.

Music is a vehicle for humans to express themselves in an attempt to reconcile with their social circumstances and is in fact its purpose. Gengetone explains what it is to be a Kenyan youth today, in amongst the social issues that revolve around deprivation, the incorporation of “Sheng”, which is a colloquial Nairobian slang/language to a global audience. Freddy continues, “we’ve also grown up in the worst of ghettos, the lowest of life anybody can be. We understand both sides of the coin and we, therefore, see ourselves as the bridge, we then have to think now because we’re at international level, how can we represent Kenyan culture where it can still be authentic but not diluting anything from both sides”.

Embroiled in their artistry is a youthful appeal and a strong representation of Kenyan youth in their music. Whether it be their high-spirited fashion sense, uber-cool choreography, lingo or philosophy of life, Matata are emphatically capturing what is truly is to be a young millennial or Generation-Z Kenyan. Infused in their music is an energy that is wonderfully contagious, and intriguing, and brings forth a sense of enjoyment and too colourful expression that ultimately prides itself in freedom. Previous generations in Kenya have not known such liberty, often deemed cultural taboo, and in a continent where freedom of expression is constantly policed. Matata gleefully accepts their assumed role in redefining the global understanding of Kenyan culture through musical and artistic dexterity. Marcus, with a huge smile on his face, reaffirms the importance of their artform - “Every time we’re out there (in the public sphere), we feel like the way we present ourselves really matters. Our music and dancing (influences) come from Kenya, and so we feel it’s important to put Kenyan youth culture in our music so people can understand the originality of our music”.

Matata in their fashionable element (Source: www.matataofficial.com)

Matata are beginning to gain the recognition they richly deserve. The group was recently awarded Pulse Music Video awards for “Best Group Video of the Year” and “Best Choreography of the Year” after a highly successful 2020. Without a doubt, they are already leading the conversation in regard to demonstrating to the world, the multiplicity of Kenyan music. For many, listening to music is an educational journey of culture… of mystery. The origin of a sound should, in theory, reveal to the listeners what is particularly idiosyncratic about that culture.. its people.

Kenya’s musical influence globally remains very small, and so it is expected for listeners of established music genres, looking toward Kenya to satisfy their musical tastes would not enter their realm of consciousness. However, this is where Matata part ways, as they are reinventing the wheel, demonstrating that they are amongst the most promising acts emerge from Africa. With a sound that is very refreshing and unique, the group has aspirations of performing at Afronation in the near future. Richie, Freddy and Marcus speak with the notable introspection, amongst the laughs, laying claim that they are far more than just a flash in the pan and indeed symbolic of Kenya’s future.

Follow Matata on Instagram and check out their hit singles on their official YouTube channel. The collective are also available to stream on Spotify and Apple Music. Join the movement.

Interview

Have you all been musicians from early age?

Freddy – The music talent has always been there but it was always suppressed. What we were known for before was back up dancers for musicians since we were teenagers

What inspired your sound and choreography?

Richie – In terms of music, Freddy and Marcus were part of a group called FBI, and the other two (Ken & Festus) who were in a dance company called Sarakasi. So they were working artists, and in 2017, Freddy released his first single and then Ken followed. Then in 2018, Sauti Sol came to perform in Oslo, and we were the curtain raisers (as dancers) and somehow seeing a group singing triggered something in our mind. After that, we decided “let’s try music now, as a group” as at the time, it was only Freddy and Festus doing music. Seeing Sauti Sol perform here (Oslo) as a group, kinda had a spark (huge influence)

Just how important is Sheng for Kenyan youth culture, and do you see yourselves playing an important role in showcasing Kenyan youth culture?

Marcus – We always consider this. Every time we’re out there (in the public sphere), we feel like the way we present ourselves really matters. Our music and dancing (influences) come from Kenya, and so we feel its important to put Kenya culture, youth/urban culture in our music so people can understand the originality of our music

The first time I heard Gengetone was in a Matatu…

Freddy – Ah! Matatu’s are everything! Every day we woke up and went to school, most of the time we’d take a Matatu and you wouldn’t just take any Matatu.. you’d go for the ones with the loudest music, the best graffiti art, with posters, with the coolest conductors, drivers and rims. Us sitting in a Matatu when you’re going to school as a child, you see Snoop Dogg on your way to school at the highest volume. When you get to school, this is the song on your mind. Matatu culture also really dictated how you dressed, the conductors used to be the coolest dressers – if your big bro had status on Matatu’s, then you’d get free rides – it was a status of coolness. So personally, after I finished high school, my first job was working in a Matatu. Matatu culture is Nairobi and Nairobi is Matatu – you cannot separate the two. Each Matatu defines each estate.

So Matatu culture, it’s very very important. It’s really dictated what is popular, because before social media, Matatu’s were the starters of “coolness”. You know, you’ve made it in Kenya if they draw you on a Matatu, then you’ve really made it.

We gotta talk about your music videos, because I always find they have a distinctly strong storyline matched nicely with choreography. Do you feel that is as big aspect of your artistry, as the sound itself?

Freddy – Definitely! As a brand identity, it all comes together. Our artistry, you cannot separate as sometimes when we are creating a song, we’ve already seen (imagined) the visuals

Mad ting! So for example, your tune Mapema… the drip was mad! What influenced your style that day?

Freddy – [laughs] We just dressed as our uncles! As kids, that’s how we saw that type of fashion.. the Sunday church fashion! He (pointing at Marcus) dresses like that sometimes!

Richie – [laughs] He’s our uncle

Was that your most fun video to record?

Richie – No, it was Ruracio!

Freddy – Ah, for me it’s Gengetone Love!

Richie - Let me support my answer! [laughs]

[laughs] Alright, individually what was your most fun video to record?

Richie – Ruracio because that was our fourth release. Denge, Kata and Mare Mare, we wrote and co-directed the visuals for those three. However, with Ruracio, we worked with a director who wrote most of the script – we were trying to improvise but then we’d say to each other.. “relax, work with the director!” That was the fun aspect for me

Freddy  – Every project for me has been special in its own unique way. The most challenging was Ruracio because it has layers to it.. if you understand what we’re saying in conjunction with the visuals.. you’d know we’re geniuses! Most fun has to be Gengetone love, because we went the extra mile to film it. You see us with a yacht, and five guys who have no ability to swim in the middle of the sea and one falls in to the water! Yes, we have life jackets and a life guard onboard who refuses to jump in the water.. this is how far we were willing to go for a music video! That last scene that you see where we were stuck in a light tower, that’s deep ocean! Just to entertain you guys, we’re really putting our lives at risk! We’re becoming stuntmen at the same time! I think too, the meaning of Gengetone love was most important, usually nowadays from black artists you see music videos with big bundas and flashy cars. We just wanted to flip the script and make a statement, saying we can have a video on beach with a storyline and purpose without taking the cliché path.

Marcus – I’d say Kata because I remember it was around 4pm,we were supposed to have some food. The problem is, I had eaten almost all the food.. four pizzas! Everyone came asking where’s the food, me thinking everyone had already eaten!

Freddy – We were recording a music video, and food was prepared for us, and this guy (Marcus) ate all the food!

Marcus  – We put a lot of hours in to Kata, around 16 hours

Richie – Ruracio was 24 hours!

Freddy – Non-stop, no break, no nothing! In our videos sometimes we have to be the artists, the assistant light person.. be different things at the same time

What about Mare Mare, you recorded that in a store. How was that process creatively? Did you have to get the store shutdown?

Marcus – That was the video that didn’t have a script! It was the easiest video we ever done. I remember we got to the store, and we were like “what are we going to shoot?”. I can only see tomatoes, ketchup and toilet paper!

Freddy – That concept (for Mare Mare) we created then and there. The owner of the store gave us two hours from 10pm to midnight to come up with the concept for Mare Mare. That was the quickest music video we’ve ever done! It was very honest, nothing was forced or overthought.. everything was spontaneous

So you practically freestyled it?

Freddy – Kinda.. we had the choreography already done but the concept of using the space we freestyled. We had never seen the space before

Who has the best fashion sense?

Marcus -  The thing is with that question, is that everyone will say they are the best!(laughs). I will take number one!

Richie – All I know is that I am number two!

Freddy – I feel everyone has their own unique fashion sense like for example Richie likes the flashy and Marcus the more subtle look, and I am somewhere in between. Then you have Ken who has that vintage vibe and Faisal who-

Marcus – He doesn’t know! Faisal, he doesn’t know!

Individually and as a group, which artist within the African continent would you love to work with most?

Freddy – Right now, I’d say J Hus and Steff London. I see that bridge where we can bring our vibes and put it nicely together. In Africa, I’d say Omah Lay. I really like his sound and in Uganda, we have one of the most underrated artists of all time called Mugaba, super super talented and people in UG don’t give him his flowers!

Richie – Stormzy!

You guys would be wavy with Pa Salieu though!

Freddy – Yes! We were talking about Pa Salieu the other day, we really like his vibe

Marcus – I’d choose Vybz Kartel. J Hus too and I’ll be very hopeful and say Drake (laughs)

(Laughs) Nah, you gotta reach for the stars in this game!

Freddy – We also think its important as Matata to collaborate with fellow Kenyan artists, so looking forward we’d want to work with Kaligraph Jones, Sauti Sol and some local Kenyan artists. For us, it matters a lot because we want to get that Kenyan thing going on. If that works, we can get NSG because when we look at them, we see a small subtle version of Matata!

That’s dope man. I see your vibe and I definitely see the similarities with NSG, and how you man perform. Speaking of performing, we gotta see you guys at Afronation in the not too distant future!

Richie – Yeah! I supposed to attend the one last year (2020), but it was cancelled because of Corona. But for sure, that (Afronation) is one of my dream stages

Freddy – He (pointing at Freddy) has been talking about Afronation. But honestly, Afronation is one of the platforms where if we finally get ourselves there then we’ll really appreciate it because then we’re on the same level playing field with every other (top) artist to showcase ourselves. With music, sometimes it’s not always about the language but also the stage presence you bring, and we believe we have good energy. We really can’t wait for such a platform

What has allowed you to stay creative during the lockdown?

Marcus – Eating cheese and Ketchup! (laughs)

Freddy – I think for us, it’s having each other. We are a group, we call each other all the time. If one person has an idea, we always ask one another “what do you think?”. That helps us a lot. Also having people who work for us in the background helping us with the creative decisions we make. If we were not a group, this would not be possible as we’re able to lift weight off each other and especially being an independent group, we have to do everything ourselves.

That’s nice to hear man, is it a thing where your all bouncing off each other’s ideas?

Freddy - Yep! That’s how it is, the creative process for Matata is like this.. I have an idea.. pitch to the group.. we discuss it and then we decide whether to proceed with it or you go back to work on your idea. Ultimately, we’re always seeing how we can build on each other’s ideas and nothing happens unless we all approve of an idea. The vibe needs to start from the inside before we can showcase it to the world