When Gengetone first emerged six years ago music critics were quick to throw it under the bus, deeming it a genre that would be short lived. “Lamba Lolo” by Ethic Entertainment was the first song under the flagship genre, inspired by Kenyan favorites dancehall and genge. The song’s hook stuck in listeners’ heads and while the youth caught on immediately, the older generation shunned its raunchy lyrics describing sex, drugs, and crime. What followed was the emergence of a local youth movement that was missing in the Kenyan entertainment scene. Groups like Boondocks Gang, Ochungulo Family, 34Gvng and solo artists such as Ssaru started penetrating the airwaves to make one thing clear: gengetone was here to stay.
From genge to gengetone and beyond
Genge evolved in the late ’90s and early aughts. Borrowing from hip-hop and other Kenyan styles like boomba, kapuka, and gemba, the fusion genre was a powerful force in Kenyan popular music. It was California-estate producer Clemmo who coined the term “genge”, meaning “a group of people” in Kenyan slang, to label the budding culture known for its rapping style and conversational rhythm reminiscent of discussions in Sheng. The first major genge hits included Nonini’s “Manzi Wa Nairobi,” “Morale” by PiliPili, Juacali’s “Bidii Yangu,” among others. But it was when dancehall, an OG staple in Kenyan music, was fully blended with genge that gave birth to gengetone. And it was Mejja, one of genge’s key players, that made it his priority to nurture the rising stars as he passed over the mantle from genge to gengetone with songs such as “Position” and “Lewa.”
Unfortunately, the gengetone hype died down around 2022. This came after the emergence of drill, a phenomenon that caused a craze across the continent. This Detroit/UK inspired hip-hop took over and suffocated all the from gengetone, eventually leading to the break up of groups such as the iconic Boondocks Gang, as well as a slew of “cancellations” due to the genre’s raunchy lyrics. Then, in late 2023, just when the genge ancestry seemed to be dying out, Kenyan producer Soundkraft assembled a team of Avengers, Tipsy Gee, Gody Tennor and Kappy, for “TikToker“, a massive hit with a staggering 10 million views. It was the first milestone for a nascent genre that would later be named arbantone.
At first, artists and fans were skeptical. Some thought the genre might be short lived, or casually called it gengetone, despite its new features. Not surprising as the first massive hit “TikToker” sampled “Bidii Yangu”, Jua Kali’s 2006 genge number. But while gengetone was known for its gritty sound and raunchy lyrics, arbantone’s delivery was more commercial-friendly both in its delivery and production.
Branding arbantone for commercial use
The issue of identity and naming has always been a hustle in the Kenyan music scene. From kapuka to genge and even gengetone, Kenyans short attention span has made the listeners jump from one genre to another, causing artists to shift genres, titles, and names just to please their audiences. This has led to a trivial and unsettled discussion of what the Kenyan sound is. Unlike gengetone, which was seen as a fresh new sound, the sampling in arbantone often led to confusion of where to place the new genre.
Speaking to Parrotty, a former gengetone turned arbantone artist, he states the new genre is a cleaner and more refined version of the former. “A couple of artists including myself, Ssaru and Kappy sat down and saw that the major challenge that gengetone faced was the lyrics and branding. We often came out as vulgar which led to the cancelling of some artists such as Ethic.”
Arbantone comes from the word urban and is an attempt to represent the country’s youths. The artists gave it the name in an attempt to distance the sound from gengetone. “Arbantone is a more polished version of gengetone. We focus on our branding and what we give to the public, rather than concentrating on sex and drugs we sing about what the youth enjoy; partying, going out, etc” Thus, Arbantone was constructed as a combination of old Kenyan genge samples and gengetone and Jamaican riddims.
The genre gained popularity for many reasons, but the nostalgia it elicits can’t be denied. The first crop of Arbantone songs such as “Lele” by YBW smith and Sosa The Prodigy featuring Lil Maina, “Pic” by YBW smith and “Nakudai” by Sean MMG had the rappers laying verses on previously performed beats. This raised concerns about copyrights and permissions, but those were quickly diffused as artists assured they had been given credits. Though, over time, the production deficit needed to be filled and producers and artists themselves saw the essence of creating new beats enabling the genre to morph its own identity. Ssaru and Trio Mio have been at the forefront in ensuring the genre’s identity isn’t tarnished with a couple of hits to their name such as “Maintain (Ivo Ivo)“, which create a fun twist to the samples. Rather than mimicking their predecessors flow, they’ve created new ways to deliver their lyrics in enchanting ways.
Arbantone online and in the mainstream
Social media challenges, especially on TikTok, have also catapulted the genre’s popularity. Since most arbantone artists are part of the first crop of internet babies, otherwise known as Gen Z, the integration into new forms of media have been seamless. A song with a dance challenge is the most likely way for a track to hit the charts. Singles such as Dyana Cods’ “Set It” featuring Ajay (Buruklyn Boyz) first blew up on TikTok with a famous dance challenge. And the original “TikToker” by Gody Tennor also gained attention due to an online viral dance challenge.
Earlier on in 2024, smash hit “Kudade” offered a new perspective in which artists from other genres could interpret their sound into arbantone. The song, originally by Fathermoh, Harry Kraze, Ndovu Kuu, Lil Maina and Johnny Johnny, eventually got a refix from Sauti Sol’s veteran member Fancy Fingers who is well known for his Afro-pop anthems. This artistic crossover may have been a cheeky attempt by Fancy to stay relevant with the youth who make up over 60% of Kenya’s population. Or perhaps it’s a sincere affinity for a genre that pulls so heavily from the Kenyan staples of dancehall and hip-hop.
And though, more often than not, when there is a crossover between genres, there is a general outcry from the public, arbantone seems to be an exception. Collaborations with arbantone artists continue. Be it hip-hop royalties Maandy and Breeder LW teaming up for “Peleka Chini“, or Boutross, Ajay and Lil Maina teaming up for “Unapose“, the Arbantone momentum is not stopping anytime soon. Especially not with a slew of standout projects like Wakorofi Settingz an EP released by Arbantone vanguards YBW smith, or Lil Maina and Sosa The Prodigy and Kanalysis Vol 1 from K4Kanali that epitomize arbantone’s sound and crossover potential.
It’s becoming more difficult to draw the line between genres. While arbantone is a gengetone successor, its sampling, delivery, and colloquial language set it apart. Though many question the potential longevity of arbantone, it’s safe to say that in its presence the Kenyan entertainment scene is bubbling with creativity and childlike excitement, in the clubs, on public transport and at live shows. While new sounds continually emerge in the Kenyan music scene, arbantone has proved that, unlike many, it is here to stay.