Notice! This Is Now A Drill Stan Account
In the cold Nairobi atmosphere this April, it is unlikely that the weather will stop any partying from taking place - especially a drill themed event. Kenya is one of the strongest hubs for drill music in Africa. The mass followership on social media platforms, views raked up on Kenyan drill artists’ YouTube pages and the turnout at drill events, are just a reflection of the fandom. As Ballantines X Boiler Room was on the last day of their Nairobi tour, they graced us with an over 4-hour drill show whose line-up consisted of Nairobi’s budding drill artists. The air was thick and humid with cigarette smoke as the dark clouds looked expectant but the crowd was ready for a rage-filled night featuring Buruklyn Boyz, the official curators of the event. But before I give you a spill on the night that was, I have to take you back to the conception of drill in Nairobi, Kenya’s ubiquitous music scene. While the industry's old heads and media were busy arguing over radio airplay, the young, creative, restless youth of Nairobi were paying attention to a not so new sound and adding a Kenyan twist.
Dark, ominous beats accompanied by the harsh truth of a violent existence in the ghetto glorifying drugs while making deadly comments - that is how I would describe the first drill break out song, “Morio Anzenza'' from the country’s beloved Wakadinali. Despite its massive success, the single did not create a strong impression as the masses were adjusting to the street image Wakadinali bore due to their hardcore lyrics showcasing daily life in the hood. The newly adapted sound created an avenue for artists to express their thoughts on the socio-economic issues affecting their communities. Sewer Sydda from the dynamic trio Wakadinali has been a monumental figure in the scene. Acting as the drill godfather, the socially conscious rapper released an album, “Wada: Healing Of A Nation'', that featured almost all the cities upcoming drill artists. He collectively worked to bring the forces of change together, calling out the government and its stakeholders for continuously harassing the weak and challenging the notion that drill cannot be used to pass on positive messages.
It was not until 23rd December 2020 that the revolution was televised. “Nairobi” by Buruklyn Boyz caused a rapturous reaction. Ajay’s declaration “tunatake Nairobi mzima east-west mpaka CBD” was just a statement of what the group and the genre had in store. The Buruklyn Boyz collective has two main faces, Ajay and Mr Right. The former, a huge fan of the drill and grime scene, influenced Mr Right and eventually birthed the group. The duo are a perfect fit as Ajay boasts menacing flows and crafted lyricism while Mr Right has a penchant for clever raps and sticky hooks evidenced by the hit single, “Location 58”. As this group turned passive music heads into mega-fans, they facilitated and supported the come up of other artists with the same palette fostering a sense of collaboration.
During the Ballantines X Boiler Room drill themed party, Big Yasa’s set was one of the most fulfilling performances I experienced. After 2 years of being an avid fan, I finally got the satisfaction of seeing someone whose music has been the soundtrack to my life. The charismatic crowd chanted “Mad Clan” throughout his vibrant performance There is a strong case to be made that Big Yasa is one of the biggest drill artists in Kenya. His authenticity on the nihilistic and dark undertones of heavy 808s and melodic drill beats sets this young rapper apart. From street favourite bangers such as “Mazza”, to recollective numbers “Cold,” the young drill artist has been a focal point in portraying the real face of the streets. Speaking to Big Yasa’s manager, Calisto Marley about Big Yasa’s success he proudly smiles stating the drill community is limitless.
One key question is where are the women in the drill community? Female artists are on the rise in Kenya, especially in the HipHop genre. Steph, Maandy, Dyana Cods and Silverstone Barz have occasionally tested the drill waters. Steph, popularly known as Steph The Rapper has been on the frontline of popularizing drill. Dabbling in Drill, Dancehall and Grime, this ferocious lady tears bar for bar in her rap songs while simultaneously being able to deliver romantic drill numbers. Championing females in the music industry, she is one of the drill founders boasting a versatile catalogue, from numerous Friday Facebook freestyles to her genre-bending freestyle, “Mazishi”.
The sultry Maandy challenged the depiction of purity placed on women in African society on her hit track “Shash na Lipgloss”. The drill number caused hysteria, with everyone chanting “Kwa purse ni shash na lipgloss, ATM card, Kondiko”. In the African context, speaking of sex is taboo, especially by women but Dyana Codds continuously challenges this notion. She gave a riveting and sexy performance of her hit song “Riswa” during the Ballantines X Boiler room party. Silverstone Barz, also known as Double SS, states that the game is a competition as much as it is a floor for collaboration. During the panelist workshop which was held on April 12th, she put into perspective that only those who want to work will get the bread as she was talking about her unreleased drill songs. “I would not want anyone to hear them,” she says while laughing,” but with enough practice and daily use of the studio you get better.”
While the Ballantines X Boiler room paid homage to the pioneers and game-changers in the subgenre, there are numerous drill acts who have been on the come up. G.T.A, a collective from Githurai houses Natty and Mando as the main faces. The masked rappers keep their identity anonymous while parading green bandanas as their statement piece. Their hard, gritty punchlines and their dominion over some areas of Nairobi have seen them often pitted against Buruklyn Boyz. On their tape “I See Green”, G.T.A collectively summed up life in Nairobi and most urban areas - dangerous, fast but still fulfilling.
The lingual mix of Sheng, Kiswahili and English matched by phenomenal production and eccentric melodic samples is what lends Kenyan Drill its unique feel. Despite the constant debate about who started the drill culture, it is undeniable Buruklyn Boyz’ emergence caused a ripple effect in the scene. From being featured on one of Europe’s largest drill channel GRMDaily to cross country collaborations, the plethora of artists championing the genre have consistently given reasons why Kenya’s position in Drill is impactful to the international scene. As more artists and producers find their voice in Drill, Kenya is ultimately one of Africa’s biggest Drill hubs.
