New Music on the Radar JUL 11

This week’s new releases arrive like a refreshing breeze on a scorching afternoon — vibrant, layered, and bursting with stories that feel both intimate and universal. From witty bro codes to soul-stirring freedom chants, dance floor anthems to dreamy coastal escapes, Kenyan artists continue to redefine what it means to blend tradition with modern sound. Our roundup for July 11 dives into songs that refuse to sit quietly in the background; each track invites you to move, to reflect, and most importantly, to connect. Whether you’re looking for a soundtrack to your weekend adventures or a reason to get lost in new sonic worlds, these picks promise to keep your radar buzzing. Let’s get into it.

VISA- Nameless featuring Wyre, and Juacali

Nameless, Wyre, and Juacali come together on Visa to craft a hilarious yet deeply relatable narrative around the subtle art of escaping domestic obligations. Right from the jump, Nameless sets the tone with his reflective lines: “sometimes I need some peace and quiet / sometimes I need some motivation / sometimes no need for many questions / sometimes I need my space.” This isn’t just an idle lament — it’s the carefully woven introduction to a storyline every married man can resonate with: sometimes you just need to hang with the boys. As the chorus drops with “natafuta visa,” it cleverly twists the meaning of “visa” into a coded excuse, a playful get-out-of-jail card that allows a man to step out without raising suspicions.

Wyre slides in next with his signature dancehall cadence, scolding Juacali for ignoring his calls, hilariously slipping in the phrase “the mobile subscriber cannot be reached” — a line that feels both everyday and dramatic. When Juacali finally picks up the narrative baton, he dives straight into the action: “simu inalia Wyre anapiga / lazima nitoke menaishia / nimekaa wiki kejani haikaliki,” painting the picture of a man desperate for a change of scenery. His defiant “kaende kaende hata wife akijam” nails that delicate tension between duty and freedom, while his cheeky nod to a prison break — “prison break boy under siege / mambo ikilipuka nitasema ni wewe” — adds an almost cinematic, rebellious charm to the storyline.

Behind this witty lyricism is Motif’s masterful production. Known for pioneering a new wave of Kapuka and Bongo sounds in the 2010s, Motif injects Visa with a bouncy loop and a vibrant keyboard line, complemented by electric guitar patterns that echo dancehall riddims. The tension-and-release drumming style creates a lively but controlled chaos, matching the restless energy of men plotting their great escape. Motif’s blend of Kapuka, Genge, and Dancehall doesn’t just support the vocal performances — it elevates them, giving each verse its own space to shine.

The song’s deeper significance lies in the coming together of three giants from different corners of Kenyan music. Nameless, ever the versatile Afro-pop maestro; Wyre, the timeless dancehall ambassador from Necessary Noize days; and Juacali, the undisputed king of Genge. Each artist has flirted with different genres, building careers that have defined Kenyan music since the early 2000s. Nameless’s collaborations with Khaligraph Jones, Ethic, and Kagwe Mungai show his willingness to evolve, while Juacali’s “uzee tunafukuza” line is more than just banter — it’s a bold claim that these veterans are still as relevant and energetic as ever. Visa isn’t just another club banger; it’s an anthem for the grown men who crave a breather from the domestic grind, a soundtrack for mature hangouts in uptown bars where stories flow and laughter is shared over cold drinks. In reminding us that the legends are still crafting witty, infectious hits, this track cements Nameless, Wyre, and Juacali as more than just nostalgic acts — they remain cultural pillars, capable of uniting generations on the dancefloor and beyond.

Free ‘N’ Indie — Kuiyu

Kuiyu’s Free ‘N’ Indie bursts onto the scene with a raw, soulful chant that immediately roots the listener in ancestral rhythms: “many many men / many many men.” It’s a stark prelude that sets the mood for a deeply introspective journey. As they move into the main verse, Kuiyu delivers a powerful meditation on self-determination, paying homage to those who came before: “they came before my time on this land / they were free and independent / they knew independence / they showed us independence.” This isn’t just a nostalgic look backward — it’s a firm reminder of a collective inheritance of freedom, an inheritance that, as they confess, remains a personal and political quest: “I’m trying to make my way to freedom.” Kuiyu pushes the listener to imagine life beyond hardship, urging us to “live a life free of misery not mist,” and ultimately to embrace the challenge: “show me your independence.” As this phrase recurs like a ritual chant, it transforms into a radical invitation, a sonic protest for a freedom that must be embodied, not just imagined.

The production, crafted by Jo Bissa, is a delicate dance between genres and traditions. It begins almost as a jazz anthem, with soft brass and unpredictable, scattered drumming patterns that whisper before the reggae pulse takes over. Gradually, electric guitars slip in, mirroring the shift from reflection to assertion. Jo Bissa’s touch is unmistakable — his ability to layer a second melodic echo that mirrors the call-and-response tradition beautifully underlines Kuiyu’s message. This echo doesn’t just fill space; it deepens the tribal ethic, conjuring the communal spirit of pre-colonial African soundscapes while cleverly using imported reggae and jazz textures. Jo Bissa, whose musical journey traverses Haarlem’s jazz-filled living rooms to Africa’s night festivals, channels all his diverse experiences here. His production approach, informed by heavyweights like Madlib and Timberland, is playful yet serious, immersive yet spacious — a soundscape that feels like it breathes right alongside Kuiyu’s vocals.

For longtime fans, Free ‘N’ Indie marks a thrilling return after Kuiyu’s 2022 album In BTWN. The singer, raised in Kiambu and honed in church choirs and the Kenya Boys Choir, has always refused to be boxed in. Kuiyu’s music has ranged from Kikuyu folk fusion to Afro house tributes, and this latest experiment in jazz reggae is another feather in their cap. By consistently merging urban and traditional rhythms, Kuiyu continues to challenge the confines of genre, inviting listeners to engage, feel, and reconnect with something primal and free. Free ‘N’ Indie is more than a song — it’s a movement. Kuiyu isn’t merely presenting a track but offering a philosophy, a manifesto for independence that reverberates far beyond the dancefloor. In a landscape where most artists are content to mirror global trends, Kuiyu insists on a sonic language that reclaims African identity and experience, even when borrowing sounds from afar. With “show me your independence” echoing like a war cry, Kuiyu reminds us that freedom isn’t just historical nostalgia — it’s a living, breathing act that each of us must choose to embody every single day.

Twende Sote — Liboi & Kayrop

Twende Sote isn’t merely an invitation to the dance floor; it’s a full-bodied embrace of community spirit, an echoing call to move as one. Liboi’s mesmerizing vocals thread seamlessly through the pulse of Kayrop’s Afro house production, anchored by the hypnotic phrase: “Shika huyo mkono / shika huyo mkono / twende sote mbele.” On the surface, it feels like a simple instruction to hold a hand and step forward, yet beneath it pulses a deeper message of solidarity and collective movement. The playful “tiki taka” chant further stitches the narrative into a dance floor tapestry, weaving in that heady swirl of freedom and togetherness that only communal dancing can deliver.

At its core, Twende Sote is a sonic tapestry of tradition and modernity. Kayrop’s production does more than keep time; it propels the body forward almost involuntarily. He describes it as African dance music with a modern edge, layering influences from Gqom and Afro-house onto organic percussive elements. The chaotic, driving drums and luminous melodies create an energy that is both primal and futuristic. Kayrop’s mission — to move listeners before words even enter the room — is perfectly accomplished. Liboi herself confessed that when she first heard the instrumental, it moved straight to her soul, demanding presence before lyrics could even form. Their collaboration feels alive, like a living conversation held through rhythm and breath. The pair didn’t force anything; rather, they let the music reveal its own destiny, birthing Twende Sote from an unexpected moment when another track failed to land.

This project also marks a creative shift for Liboi. Known for her contemporary African sound, she leans deeper into spellbinding Afro house on this record, revealing a new dimension of her artistry that feels both effortless and magnetic. From her early explorations in African contemporary music to this moment of playful reinvention with Kayrop, Liboi continues to demonstrate an ability to shapeshift while remaining rooted. Kayrop, on the other hand, emerges as a true sonic architect, layering emotion and movement into every beat. Their shared studio process — described by Liboi as “a conversation through sound” — is palpable in every layered chant and percussive heartbeat.

Likizo — DJ Mura & Big Nyagz featuring Liboi and YAH Listen

Likizo is a sun-soaked invitation to escape the ordinary, a shimmering sonic postcard from the shores of East Africa. DJ Mura K.E and Big Nyagz, both stalwarts of Nairobi’s thriving Afrohouse scene, craft a soundscape that feels both intimately local and boldly global. Mura, with his eight years of weaving Afrohouse, Amapiano, and Benga into electrifying festival sets, joins forces with Big Nyagz, a respected but enigmatic force in the same circles. Together, they conjure a track that hums with a spirit of movement, freedom, and celebration.

From the first beat, Likizo unfolds like a dream sequence: waves of rich percussion, shimmering synths, and earthy basslines set the stage. Then Liboi enters, her voice painting vivid scenes: “The sun is resting painting gold on quiet skin / you are calm like the ocean breeze and I the hush.” It’s a gentle but powerful image — an instant transport to a tranquil coastal holiday. The repeated phrase “Gina ni goko koro” anchors the track in a playful yet hypnotic groove, an Afrohouse chant that begs for repetition on a dancefloor under warm lights. Liboi’s invocation “upepo wa Bahari penzini kisauni”feels like a breath of salty sea air, grounding the holiday motif in actual places and memories that resonate with Kenyan audiences.

YAH Listen adds their energy with textured harmonies, enriching the song’s lush layers without crowding its airy freedom. The synergy between Liboi’s emotive presence and YAH Listen’s smooth contributions weaves a sonic blanket that wraps around the listener, pulling them deeper into the moment. Underneath it all, DJ Mura and Big Nyagz’s production is an intricate celebration of Afrohouse: swirling electronic elements seamlessly braided with traditional rhythms, and shimmering melodic textures that encourage both introspection and movement. Their deep respect for local languages and regional sound palettes is evident, echoing throughout in subtle flourishes and bold refrains.

For Liboi, known for her contemporary African music explorations, this track is another example of her genre-blending fearlessness, a natural evolution from her folk-tinged past into more electronic, experimental territories. Mura and Nyagz, meanwhile, reaffirm their position as guardians and innovators of Kenya’s Afrohouse renaissance, constantly pushing the genre’s limits while paying homage to its roots.

Culturally, Likizo stands as a testament to the new wave of Kenyan electronic music — fearless, rooted, and globally resonant. It’s more than just a soundtrack for warm nights and long drives; it’s a celebration of the Kenyan spirit of adventure and joy, an embrace of both ancestral rhythms and futuristic possibilities. In merging Swahili, Kikuyu, and Luo with electronic landscapes, Likizo EP positions itself not only as a party essential but as a cultural statement. It invites you to dance, to dream, and to remember the simple beauty of taking a breath, stepping away, and surrendering to the holiday spirit — wherever you may be.

Written by Otieno Arudo