New Music on the Radar MAY 30 (Chimano, Zawadi, Llumi, King Kaka & More)

May 30, 2025 32

New Music on the Radar MAY 30

Zawadi Mukami is truly the gift that keeps on giving. Fresh off the Musings EP — released just earlier this month and already becoming a fan and critic favorite — the singer dives headfirst into the world of rap, delivering a strong, unexpected verse over a KiliHippie beat alongside BoiBlacc. What’s striking is how this release fits into a larger trend in Kenyan music: major acts like King Kaka, Scar Mkadinali, Chimano, and Llumi are increasingly collaborating with dedicated composers, separate from their producers, reflecting a growing professionalism and attention to detail in Kenyan audio production. For fans of King Kaka, there’s added excitement here — his writing and delivery, which some felt fell short in earlier singles from the joint project, show clear improvement on this track. Meanwhile, Chimano cleverly uses a dance floor metaphor to affirm that love is something shown through action, a theme that stands in poignant contrast to Llumi’s heartbreak ballad Moyoni, where she narrates the pain of love left unreciprocated. Welcome to the final installation New music on the Radar for May 2025.

On their joint project Fluent Trauma, King Kaka and Scar Mkadinali take a bold swing at merging two distinct rap styles, and their latest drop featuring Njerae brings an unexpected softness into the mix. The song, with its mature, jazzy feel crafted by Ndovu Kuu, is built on contemporary benga movements — soft guitars, mellow keyboards, looping trumpet, and naturally flowing drums — creating a restaurant or outdoor vibe that leans adult without being risqué. The subtle switch to heavier R&B 808s during the choral sections lifts Njerae’s vocals, letting her shine as the reigning queen of Kenyan love songs. She delivers an alluring chorus, crooning: “Try me, if you know you want a main one find me / I’ll be where no one else can find me / I’ll be on the top shelf boo come find me” — a direct invitation into the world of faithfulness and exclusivity.

Scar Mkadinali, usually known for raw, hard-hitting bars, surprises here by opening with a melodic cadence: “Girl you’re different, you better put down your defense / coz when you f** with a G, rock with a G, you better do what the G says.”* His verse paints a portrait of attraction, from the woman’s long hair to her shapely figure hidden in baggy jeans, while slyly nodding to Njerae’s rising star and her recent Universal Music Group (UMG) East Africa signing: “I told my bro ambia Njerae.” Yet it’s King Kaka who finally flexes his full lyrical range on this track, cracking clever wordplay that fans have missed, humorously recounting his grandma’s advice — “my grandma told me this love lazima kasoro…tukikosana kidogo uko mbio kwa mokoro / and if I lie blame shetani and Kasongo” — the latter a cheeky reference to President Ruto’s nickname. Adopting a bad boy persona, King Kaka teases the chaos of romantic entanglements: “Ona main amekuwa ex, alafu ex akakuwa main / hii hesabu nashindwa ku-explain, so why should I try then.” Given his recent, very public separation from Nana Owiti over cheating allegations, these lines land with an edge of uncomfortable honesty.

Culturally, this track signals several shifts. First, it nudges Scar Mkadinali into terrain his Wakadinali die-hards may find too soft, challenging their expectations of his adaptability. For King Kaka, it marks a return to sharp lyricism fans feared was being wasted in the project’s earlier, more experimental tracks. But the true highlight is Njerae, who continues to cement her role as Kenya’s modern love ballad queen. While we’re yet to hear her outside romantic themes, her presence here elevates the song’s appeal and positions her firmly at the center of Kenya’s evolving mainstream pop-rap landscape. The song’s likely to thrive on adult contemporary radio, urban playlists, and restaurant soundtracks, expanding the reach of all three artists while inviting debate about the changing face of Kenyan hip-hop and R&B collaborations.

Show Me by Chimano

Chimano’s Show Me is a shimmering, house-inspired dance anthem that pulses with a confident mix of Afro-pop flair and underground club textures. Produced by DTX, who has steadily become Chimano’s go-to collaborator since Sauti Sol’s members branched into solo careers, the track thrives on a funky pop instrumental layered with underground house elements. A synthesized keyboard forms the heart of the melody, looped with a high-pitched trumpet chord that pierces each cycle, while soft electric guitars smooth out the soundscape. The drums are particularly notable — intricate, cascading 808s rise and fall with EDM-like tension, punctuated by hefty, spaced-out house beats that ground the track firmly in underground culture aesthetics. This is music tailor-made for friend playlists, night drives, and those hazy hangout sessions where the vibe matters as much as the lyrics. With Victor Gathuru Gitema onboard as co-writer and composer, Chimano delivers a piece that not only invites you to dance but to feel seen on the dance floor.

Thematically, Show Me leans into the dancefloor as both a literal and metaphorical space where love is proven through action. Chimano opens with a playful, high-pitched baritone: “Heyyyy, do you think I could be next to you / just sayyyy, that the vibe is nice and I’m smooth like butter,” a striking contrast to the deeper bass lines fans knew from his Sauti Sol days. The pre-chorus swells with desire: “I like you darling and nobody got it like you / They say we wilding, but I like like that so…” before erupting into the infectious chant: “show me, show me, show me.” As the track builds, the persona shifts, moving from coyness to command, declaring: “wait till I’m next to you / slowly getting to know your body love!”and sealing the verse with: “we don’t need no sign, when the vibe is right.” It’s a celebration of living in the moment, of letting chemistry lead the night’s unfolding story.

Culturally, Chimano’s solo career carries weight far beyond the dance floor. Having publicly come out as a gay man a few years ago, his continued presence in Kenya’s music scene stands as a quiet but powerful act of resistance. In a country where homophobia remains deeply entrenched, his visibility helps challenge rigid cultural perceptions and create space for broader conversations about identity and love. By tapping into the global Afrocentric tradition of Black queer artists drawing from underground house music, Chimano celebrates queer joy and community, weaving Kenya into a larger tapestry of diasporic sound and resistance. Show Me is more than just a club-ready hit — it’s an affirmation of presence, identity, and unapologetic self-expression

Mboka Mbaya by Zawadi Mukami & BoiBlacc

Zawadi Mukami’s surprise rap debut is turning heads — and for good reason. Coming off the back of her Musings EP with Clark Keeng and Chris Barr, which had fans vibing to her smooth vocals across five tracks, no one expected her to pivot into spitting bars. But on this latest KiliHippie-produced track, she ditches the melodic hooks and dives fully into rap — and not in the watered-down, pop-singer-trying-to-rap way, but with a solid, cadence-free verse that feels raw and intentional.The production is unmistakably KiliHippie. It leans into the golden age of hip-hop with a slow BPM, weighty drum hits marking the end of each bar cycle, and a deliberately draggy, almost discordant keyboard melody. But KiliHippie softens the rough edges by looping in a soft trumpet and layering electric guitars, giving the track a smooth, jazzy undertone. Zawadi leans right into that texture, adopting a casual, almost spoken-word delivery — like she’s talking with friends over a beat.

Thematically, the song captures the vibe of a chill hangout, a laid-back conversation where jokes, reflections, and street wisdom weave together. The intro itself is playful, with Zawadi feigning ignorance: “So wacha ni washow kuliendaje, tulikuwa hapo na Hippie na Boi, na ule dem huimba imba, anaitwa nani?” The hook runs on a call-and-response style pulled straight from Swahili ngonjera: “so mkinicheki kwenye bizz — chorea / nikianza ma beef — mezea / nikiwasha spliff — tegea.”

Zawadi’s verse is all about artistic reflection and ambition. She teases the audience, admitting: “najua nimekuwa nikawaweka,” hinting this collab was a long time coming, and declares her hope: “I hope nitachorwa kwa matatu,”dreaming of cultural impact. She even breaks the fourth wall, laughing: “sikuwa najua naweza bonga kwa ngoma.”BoiBlacc’s verse kicks the energy up a notch with quicker, punchier bars focused on hustle. He drops sharp lines like “cheki cheki keki huisha ukidleki” (riffing on chelewa chelewa utapata si wako), and paints a vivid picture of Nairobi’s street economy: “hizi streets kuna bizz hadi kona ya Imenti.” He jabs at liars and throws shade at President Ruto: “nakushuku ka lies mtukufu, we si mtu wa watu, we ni mtukutu.” It’s streetwise, gritty, and unflinching.

This track stands out as the kind of song that hip-hop heads, especially fans of classic boom-bap and jazz rap, will vibe with. It’s heavy on lyricism but laid-back in tempo — perfect for a grind playlist, hip-hop radio, or anyone craving authentic Nairobi hip-hop energy.The significance here is huge: Zawadi Mukami’s unexpected rap chops reveal a whole new artistic layer, deepening her appeal to fans. The use of sheng is refreshingly accessible, striking a balance that resonates with both younger listeners and older heads who’ll enjoy the nostalgic feel. And for KiliHippie — known for dropping beat packs but rarely for vocal collaborations — this track’s success could open the door for more rapper-producer pairings, helping shape Nairobi’s alternative hip-hop scene

Moyoni by Llumi

In Moyoni, Llumi delivers a slow-burning, heartbreak anthem that positions her as one of Kenya’s most promising Afro-soul voices. Drawing comparisons to Sanaipei Tande — not just in her warm, velvety alto but in the emotional directness of her storytelling — Llumi invites listeners into the raw, private spaces of heartbreak, where the mind says “let go” but the heart whispers “moyoni nakuhisi bado.”

The song’s opening verse immediately sets the tone of betrayal and quiet devastation: “Nikiwaza tulivyopatana… on the floor tukidance piano / ukaona mimi utanidanganya.” Llumi paints a vivid picture of how love first bloomed — on the dancefloor, carefree — only for her to later realize she had been sold a lie. She acknowledges this heartbreak bluntly, confessing: “And I took my time getting to know you… and you sold me a lie / ni hasara kwangu nilishakubali.”

What makes the narrative more striking is how she processes the fallout. In the second verse, the persona hardens, moving from pain to moral judgment, rejecting reconciliation with a biting line: “huna utu wewe, hupendi amani / usiseme kamwe wataka kujieleza.” By the verse’s end, she declares finality: “wacha ibaki siri / mambo yako yananiumiza.” Yet, even after these cutting dismissals, she circles back to the chorus, confessing that deep down, she still feels the lingering ache of that lost love: “moyoni nakuhisi bado.”

Produced by the veteran Saint P, with composition by Bernard Isuwirio, Moyoni carries a lush Afro-soul arrangement built on electric guitars, soft percussions, and subtle 808s. Saint P’s signature cascading drum patterns beautifully mark the choral points, reinforcing the emotional peaks and valleys. While the arrangement leans into Afropop, the song’s pacing, its layered instrumentation, and Llumi’s choice to let her alto voice carry both the melody and the emotional weight all evoke the storytelling style of Sanaipei Tande — an artist long known for making heartbreak and desire feel both sensual and devastating.

But Llumi is not simply echoing her predecessors. Hailing from Limuru’s tea highlands, she brings a distinct cultural richness to her sound, blending Afropop with global genres like Zouk, Highlife, and Soka. Before signing with Sol Generation Publishing, she worked closely with DJ Fully Focus on songs like “Sababu” (2022) and “Anything” (2022), building a reputation for smooth, emotionally honest music. Now, Moyoni — her first single under Sol Generation — marks a new chapter, one where she seems poised to take on a larger stage, embracing themes that cut to the heart while offering a modern, Afro-fusion sound.

Written by Otieno Arudo

Written by: 254 Radio

New Music OtienoArudo

Rate it

Article

Keeping Up with the Discourse: Kenya’s New Internet Bill Sparks Debate on Freedom and Control

Keeping Up with the Discourse is a Radio 254 series, exploring the issues shaping Kenya’s public conversation. In the latest chapter of Kenya’s evolving digital landscape, a new bill tabled by Aldai MP Marianne Kitany has ignited a firestorm of debate. The Kenya Information and Communications (Amendment) Bill, 2025, seeks to overhaul how Internet Service Providers (ISPs) and internet users are regulated, raising critical questions about the balance between cybersecurity […]

May 29, 2025 35