“My sonic identity is not predefined; rather, it evolves as I grow as a musician over time. However, I would say that, generally, what I have done with my sound is to modernise and globalise Kenyan music.” – Sabi Wu.
By Frank Njugi
When Rolling Stone released its 2023 listicle of the 40 Best Afro-Pop Songs, it came with a delightful surprise. The standout inclusion was an East African song from an artiste who, despite being relatively unknown beyond his country’s borders, has been making waves with powerful narratives in his music. Kenyan rapper and singer Sabi Wu made the list with his track “Mi Na Wewe”, securing the 8th spot. The song, a well-executed track sampled from “Ninanoki”, a 2003 hit by Kenyan artistes, Nameless and Amani, resonated deeply with listeners.
What made this placement remarkable was that it ranked higher than some of 2023’s most acclaimed African singles, including Ayra Starr’s “Sability”, which placed 11th, Spyro’s “Who Is Your Guy” featuring Tiwa Savage, which came in at 12th, and Burna Boy’s “Tested, Approved & Trusted”, which was placed 14th.
Sabi Wu is currently regarded by both critics and music aficionados as Kenya’s most exciting young musical act. As an artiste, he defies genres with ease, reshaping not just the Kenyan but potentially the entire East African musical landscape. His latest project, BoomBoxxx, has been hailed for its attempt to evoke a sense of shared identity and nostalgia among Kenyans. The EP features relatable and humorous audio clips from historic and revolutionary moments in Kenya, giving it an unmistakable cultural resonance.
One of the most impactful tracks on the EP is “Reject Hio Bill”, an anthem that captured the spirit of unity and resilience demonstrated during the mid-2024 Kenyan Anti-Tax protests. The song became the foremost soundtrack of the rallying cries against punitive government policies, further solidifying Sabi Wu’s status as a bold voice for the people.
In this exclusive interview with Afrocritik, the fast rising artiste speaks on this latest project, his identity as an artiste and his artistry in general.
What pivotal moments from your early life would you describe shaped your artistic vision ?
I first interacted with music through my parents who loved to listen to old school Reggae, Soul and R&B around me as a baby. As I grew older, I got in touch with popular local and international music from the radio and from a small CD shop near my childhood home in which the seller used to give me CDs with the latest music playlists and videos.
My first memory of making music is when I was a kid, about 8/9 years old. My mum bought me a tiny keyboard which I used to compose melodies with and would sing and rap my own lyrics on top of that. Eventually I learnt about producing music in my teens and that’s when I started making beats and recording songs.
I started writing lyrics and poetry while at school, often scribbling down lines during class. When Instagram came around, I’d use witty lines as captions, and people really loved them. Some friends even asked me to write captions for their posts. Eventually, one friend suggested I try songwriting and performing—which I did, and I haven’t looked back since.
As a young artiste, you have received accolades such as having features on Rolling Stone and Al Jazeera. How has such accolades served as a justification for the work you have put in as an artist, or authenticated the songs you have released so far?
The recognition I have received so far feels incredible. If you had told me when I started out that I would one day be featured on Al Jazeera and Rolling Stone, I would have found it hard to believe. I’m extremely grateful. Being highlighted on such platforms has exposed me to new audiences and given me a bit of bragging rights. However, the real validation for the work I’ve put in comes from the new fans with whom my music has resonated and impacted. The accolades are a confirmation of how enjoyable and meaningful my music can be.
Rolling Stone at the end of last year placed your single, “Mi Na Wewe”, as 8th in their ‘Top 40 Afro-Pop singles of 2023’. This is a song that mixes elements of new Nairobi Hip-Hop/Rap with American East Coast Rap sensibilities. Does the single represent the sonic identity you wish to put out there as an artiste? What is Sabi Wu’s sonic identity?
My sonic identity is not predefined; rather, it evolves as I grow as a musician over time. However, I would say that, generally, what I have done with my sound is to modernise and globalise Kenyan music. This has always been my aim, and I will continue in this direction. That said, in the near future, I also want to push my boundaries and explore new avenues, while maintaining the same authenticity and cultural relevance that defines my work.
Your June 2024 single, “Reject Hio Bill”, which was interpolated from Kendrick Lamar’s “Not Like Us” became the soundtrack to the mass protests witnessed in Kenya. How did the song come about, and why did you endeavor to use music to encourage Kenyans to discover insights on an individual level that could lead to collective positive change (in this case from a political standpoint)?
I have been making political and socially conscious music for quite some time. My projects include “Maandamano Riddim”, released in August 2023, and “Rasta ni Nywele”, released in August 2022.
For my most recent attempt, “Reject Hio Bill”, I aimed to freestyle lyrics inspired by the state of the country, based on both my firsthand experiences and the concerns my fellow countrymen have expressed. This was set over a beat by Kendrick Lamar, an artiste renowned for his conscious Hip-Hop—a genre that promotes Afrocentricity and raises awareness of socio-political, economic, and cultural issues.
I believe music is a powerful tool, and we should use it to express the reality we live in. Reggae artistes like Chronixx and Bob Marley, as well as Hip-Hop artistes like Kendrick Lamar, make music that is deeply socially conscious, and they have been a significant source of inspiration for me.
There is a lot of sampling and interpolation in your music — as seen in both “Mi Na Wewe” and “Reject Hio Bill”. Why this affinity for the eclectic experimentation of sampling old records to create new transcendental Hip-Hop songs?
I tend to believe that all songs, in some way, are inspired by those that came before. While I have many original tracks, the ones that feature samples carry forward a certain energy from the original renditions.
I love sampling because I’m inspired by the early rise of Hip-Hop in America, especially producers like Dr. Dre, who sampled old soul tracks and helped shape the genre. I enjoy listening to artistes who sample music and add their own twist, and I love doing the same in my own work.
Your latest project is an EP, BoomBoxxx, released last month, with features from artistes such as Danski and Dyana Cods. What was the inspiration behind BoomBoxxx?
BoomBoxxx was inspired by the lively and eclectic music culture of Kenya. I aimed to recreate the soundscapes I heard in the matatus when I was younger. I truly believe that the vibe of our country’s music is unmatched. In BoomBoxxx, I sampled the old songs that were popular during my youth and added my own twist. The EP is a celebration of modern Kenyan culture, infused with a touch of our musical history.
Would you identify any artistes, whether international or local, as your role models? If so, who and how have they influenced or impacted you in your career?
I have many role models, but I can only name a few. I was inspired to rap by artistes like Lil Wayne, Kendrick Lamar, and J. Cole because of their ability to incorporate complex wordplay, themes, and storytelling to create a rich musical universe.
My production inspiration comes from producers such as Metro Boomin, Dr. Dre, and Kanye West. Their production styles have created powerful atmospheres that have shaped their respective generations. Kanye West, in particular, inspires me with his ability to produce, write, and perform tracks all by himself, which is something I take great pride in.
Locally, I find inspiration in Wakadinali for their raw authenticity and profound storytelling about real-life experiences. I’m also inspired by Korb$ and Kahu$h for their realistic and modern approach to narrating stories through their music.
What more does Sabi Wu have planned moving forward in terms of his artistry?
I am currently working on a socially conscious album, inspired by Kendrick Lamar’s Good Kid, M.A.A.D City (2012) and To Pimp a Butterfly (2015). My aim is to create a thematically and conceptually rich album that reflects the environment I have lived in.
I am also exploring different genres and styles of music that are more light-hearted, in contrast to my usual sound. Audiences should be very excited about what I have in store for them.
Frank Njugi is a Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.