In an age where influencer culture constantly intersects with art, activism, and advertising, the dispute between Kenyan musician Kethan and creative agency Light Art Club (LAC) resonates far beyond its initial entertainment value. What may appear as a simple fallout between an artist and a brand has evolved into a complex commentary on artist treatment, brand ethics, and the public performance of accountability in Kenya’s growing creative economy.
The conflict stems from a 2024 brand event in Chuka, where LAC engaged Kethan for a collaboration involving live performance and content creation. What began as a promising opportunity deteriorated into a public standoff, fuelled by dueling videos and emotionally charged statements on social media. Kethan alleges the agency failed to provide adequate accommodation during the event and abandoned him following a robbery in Nairobi. In his viral video, he described the experience as one of feeling “powerless” and “alone,” while accusing LAC of using his music without compensation or consent.
LAC, in its defense, argues that Kethan violated agreed terms by bringing an unauthorized guest, failing to create content as expected, and ultimately leaving the event prematurely. A May 16 clarification video, which features content creator Nyawanga, pushes back against Kethan’s narrative, framing his actions as unprofessional and publicity-driven—an attempt, they argue, to boost attention around a new album.
A Dispute with no Receipts
Despite the intensity of the back-and-forth, the dispute suffers from a lack of verifiable documentation. No party has released signed contracts, receipts, or email correspondences that would substantiate either side’s claims. Without clear evidence—such as proof of full payment, outlined responsibilities, or communication regarding the robbery—the audience is left navigating a space dominated by emotion, optics, and speculation.
LAC’s decision to feature Nyawanga in their defense video introduced another layer of controversy. Just weeks prior, she had drawn public ire for appearing in KFC’s widely criticized Pasua advert, which many interpreted as mocking street vendors—a group emblematic of Kenya’s economic hustle. Her involvement in LAC’s response effort was quickly flagged online as a tone-deaf move, with critics questioning the agency’s judgment for leaning on a figure still recovering from public backlash.
From Advocacy to Outrage
The backlash was swift and, in many instances, unrestrained. While some responses remained focused on the core issue—calling for fairness and accountability—many others veered into a toxic spiral. One particularly grotesque post likened Nyawanga’s appearance in LAC’s video to a white supremacist defending Mein Kampf, a tasteless and inflammatory analogy that trivialized historical trauma and drowned out constructive discourse.
What could have been a sober industry conversation about professionalism and contract ethics devolved into a meme-fueled spectacle. The public reaction underscored a larger cultural tendency: for online platforms to amplify personal attacks over substantive discussion, and for public figures to become lightning rods for controversies far removed from the facts.
Still, beneath the noise lies a more urgent conversation about how young artists are treated in brand partnerships, how brands respond to criticism, and how quickly disagreements are thrust into the realm of performance rather than resolution. That both Kethan and LAC chose the video medium to air grievances reflects a broader shift in how disputes are mediated—or, in many cases, amplified—in the digital age.
LAC has stated that the matter is now under mediation, though few details have emerged. Until then, the situation remains suspended in a fog of partial narratives and performative responses. Kenya’s entertainment ecosystem, vibrant and dynamic as it may be, still struggles with clear standards for professional engagement and dispute resolution.
Written by Otieno Arudo
Dear reader, welcome to this week’s edition of New Music on the Radar, MAY 16. This week, we highlight the turn to vernacular lyricism: a complete one by dancehall star Dufla Diligon in Adok Ebei and a partial one by Nviiri the storyteller in Mwana wa Mubi. The Jinja born artist has spent much of his adult life in Kenya and shaped its urban culture so much that few fans […]
