Veteran rapper Hubert Nakitare, better known as Nonini, is under the spotlight once again—this time not for his courtroom victories or entrepreneurial ventures, but for music. A behind-the-scenes video he shared from the studio has stirred a heated debate online, drawing both praise and scorn from fans.
The video, posted on X (formerly Twitter), shows Nonini in his element: rapping in the unmistakable genge style that made him a household name in the early 2000s. He delivers the verse with energy, mixing nostalgia and defiance in equal measure.
“Sir God yuko kwa sana sana na tena atalipisha kisasi asubuhi na mapema. Namiss Kanairo vile ilinijenga,” he raps in the clip, later adding, “Ngumi ni mbwekse ata huku kwa walami, watajuaje nimetoka city ya wakadinali.”
He captioned the post with heartfelt anticipation: “My last song in the New ALBUM. Can’t wait to share my experiences with my people. Music = Experiences.”
But instead of excitement, the reaction was mostly sceptical—and often brutal. Many users felt that the rapper, once dubbed the “Godfather of Genge,” had lost his edge.
“What do we have here? A good dancer knows when to leave the stage,” wrote one user. Another simply said, “Bro just quit and try another thing.” A third user, echoing many others, posted: “Hii hapana mzee. Leave music before music leaves you.”
The backlash wasn’t universal. Some fans were quick to defend Nonini’s efforts. “Y’all be nice. The song sounds fire to me,” one supporter wrote. “Can’t wait to hear it!”
The divide highlights a deeper tension between nostalgia and progress in Kenyan music. Nonini’s name still holds weight, especially for listeners who grew up during the genge boom. His influence spans decades. From hits like “Manzi wa Nairobi” to the explosive success of P-Unit and tracks like “Si Lazima,” his contributions helped define Nairobi’s urban sound.
He also made a name for himself beyond music. In recent years, Nonini turned to advocacy, entrepreneurship, and legal action to protect artists’ rights. In 2023, he won a major copyright case against a local influencer and electronics company for using “We Kamu” without permission. Earlier this year, he secured another court win over the unauthorised use of his song “Kadhaa” by a car dealership.
But the bigger question now looms: can he still hold the mic in today’s fast-changing musical landscape?
For some, his latest track feels like a relic of a bygone era. For others, it’s a refreshing reminder of where Kenyan music came from. Either way, Nonini has people talking—and in an industry where relevance is everything, that may be half the battle.
About the Author
