Because what am I going to do, sit down and listen to? Yeah, you can listen to how the the the notes how the the the the yeah you look you can't even you can't even continue your BS the yo what's up? And welcome to episode 53 of the 30% podcast hosted by yours truly, AFAM and my Fantabulous Co host Sam, Sam. What's up? What's going on? How you doing man? You good? I am tired. You're tired. Me, I'm tired, Sam. Gypsy. I hope you gin. I'm tired, Sam. I hope you can find some energy
to get through this podcast. Which people, by the way, you guys can find this podcast on Instagram. No. What am I saying? You can find this podcast on Spotify. You can find this podcast on Apple podcast. You can find it on Google Podcast. You can find it on Spotify. And you can also find it on YouTube. You can find our social media handles on Instagram, on Twitter, on threads, on LinkedIn, as well as X. And that's going to be the 30% pod on all of. Those I can confirm.
Sam. Sam, how was your week, man? How was my week? It was. It was good. It was good. I don't remember, honestly. I honestly don't remember beef anything before Thursday last week. This week, what week are we in? I just read the What Week. OK, man, I was so confused. But yeah, it was it was good. It's very productive, very tiring, I think. I have not slept regularly since Thursday last week. I've been involved in some video shoots, which we're not allowed
to talk about, unfortunately. But yeah. No. So I've been doing that, been doing some scoring, been in the studio, creating. It's been like back-to-back creativity, man. It's it's, it's it's crazy. But yeah, that's it. Very tired. Very, very, very happy to be here, man. It's good. It's good. How are you, Fireman? What you been up to? I'm. Hey, I'm good. I mean, you know what I was up to on Thursday For sure. We have something special for you guys. Oh, snap.
Coming very, very soon. That's what I am. I forgot about that. Yeah, this is a this is a monument Monumentous occasion for the podcast. Because there's some things, yeah, we've we're doing something that we've never done before. Yeah. So this is going to be an exciting thing for you guys at least. But yeah, that is going to be in your zones and in your media devices very, very soon. But yeah, yeah, yeah. So yeah, we a very good, very exciting, very, yeah.
Monumentous. Very monumentous, yes. Yeah. So, so yeah, so that was my Thursday. But other than that, man, I've been really creative. I've been really churning out the beats. I've been making a lot of music. I'm just trying to work on as much music as I can before the year ends and just try and collaborate with as much people as I can. Speaking of November, bro, yeah, it's already the end of November. But Speaking of collaborations, I got a placement recently.
So fire I was on. Yeah, I was on Sabu's tape. Really. Yeah. Yeah, yeah. I I produced, I produced a song with with with Sabi Wu and Swahili Papi, and then it's called Marengo Kashmani. And then the second-half of the song, I think, I believe was produced by Cap and FK Beats. OK. All right. All right. Yeah. But I wasn't. Listen, I wasn't. I didn't know that there was a Part 2 to the beat. So it was also a surprise to me. That's fine.
They get you the placements. They're getting more placements than me, though. I don't like it. Oh, yeah. Yeah, bro, I'm trying to listen. Well, I don't know about getting more placements than you, but I'm really trying to scale up the amount of placements I get. Yeah. Oh, I don't know if you don't know what placements are. By the way, placements is what we call when when a producer gets his songs on an album. Essentially, that's what it is. Oh, with an artist.
Oh, with an artist, it's not not only an album, Yeah, with an artist. So, and that's like some that's a lot of producers. Goals like I want to get placements with this person and this person. There's thoughts about that, but that's one of the podcast. Yeah. So. Yeah, man, that's cool, man. Congratulations. Working, working, working. Congratulations. Yeah. Thanks, man. I'm just trying to trying to get get the sounds out there as much as possible. Nice. Nice. Yeah, As much as everything
else. What are you making now? Today I've been making a bunch of Trap amid R and BI also made a dance tune. So I'm making everything. And then I also want to make I want to make a Ganga tone joint afterwards after we record the podcast because I there's there's an artist who I'm trying to work with. Oh nice. Yeah, really busy. Really busy man, really busy. There's no sleep for for the weekend which makes me wicked. Anyway, I don't know what I'm saying. So yeah.
Sam, yo. Oh man, let's get into Well, actually also this week has been interesting, an interesting time for the podcast. Just a lot of feedback, which we appreciate and stuff. Yeah, for sure. So yeah, one thing, bro, one thing I'm learning about podcasting is it's definitely a responsibility. But I mean, you know, we're, we're, we are. I think we are working towards, like, really getting ourselves situated in this space, yeah and yeah.
I would say, I would say, I think I would say that this week has has probably put into light like I said I think it's put into light a greater responsibility in terms of just being being. Careful is not the word being more thoughtful about about going going about this whole
thing. Yeah just looking at both the feedback that that what we from from the previous episode and then also this week I've gotten a lot of feedback from other people who've just who stumbled on the podcast and listened and it's been like really good. So it's just it's. For it's, it's. It almost puts it into perspective now. So it's not it's I mean for us, I don't think it's ever been. We're just sitting around and
talking. But it's it's interesting because, like, it's so divisive because I've gotten an equal part of people who are like, super, like, yo, thanks for like last podcast, because that's, you know what I mean? And then other people are like, why would you had differing opinions? So it's it's it's very it's very divisive. But that's podcasting anyway. So Sam into the news man. So bro like recently.
Now this is interest. This is an interesting conversation to have, especially by two led by two very introverted individuals who barely. Said the right people to talk about this, aren't we? Oh yeah, yeah, yeah, we are absolutely the right people to go outside. But listen, I I mean to go on this topic, but I've been on SO you know me, I love TikTok. So I've just been on TikTok a lot and I've been on Gabzi talk.
Like a lot of people have been posting tik toks about their experience at Gabzi as well as tweets and everything. And it's safe to say it was a shambles. My general, no. Go ahead, go ahead. I agree with you. Yeah, so, so the general, so the general consensus from what I have seen on TikTok and Twitter is that the event itself, like Gabzi and the people who performed were not bad at all. Like they did their thing, but everything surrounding the event organization was an issue.
Like like, brah, I've seen so many tweets about people saying this was the first time they ever got tear gassed. And then when I like, I remember I woke up and I saw somebody saying that they got tear gas and I was like. Have you ever been tear gas before? No, I haven't. Never. Oh man, it's not. It's no. And I hope I don't. It's not good. I hope I don't get tear gassed anytime in my life because bro like people were like, yo, this is the first time I got tear
gas. It felt, it felt like I was in Mandamano, like people were like bro, like the some people were saying that police were actually beating people. So somebody claimed that they were shooting rubber bullets. I was like, I was like what the hell is happening? And then obviously there was the whole mud situation. It was really muddy, so. It was, it was nice. This time of the year is really weird for events, especially because we don't have like, well, we do.
But then, some of the venues that artists choose are not necessarily the most. What's the word I'm looking for? The events that some of them can be very, very tricky in in that aspect and so like when it's raining and there's mud all over the place, it makes for a less enjoyable experience. I do enjoy, however, I enjoyed TikTok in this aspect because I think it gives us an adult an unadulterated view of of really what's going on in terms of people's experiences.
Like like, it's just really, really and really raw because. People run with that kind of content on Tiktok, so I do enjoy. I enjoy seeing that in Twitter and all that business rather than getting it from polished sources, you know? So that's pretty cool, Yeah. But oh man, I didn't attend the show. But yeah, I didn't. I mean, listen, I'm not going to lie and I'm just going to come clean and brah, maybe this this is not good for my brand as somebody who puts people onto
music. Oh yeah, my brand as somebody who puts people onto music on TikTok. I can't lie. I don't really know much about Gabzi. Like, for me, I was like because everyone was like Gabzi, Gabzi. And I was like I have no idea but like. Catalog Do you listen to him? Dope. Oh, OK. I've heard maybe one song, one or two songs from him, like some of his songs that have done really well, but I've not really paid that. I've had his name before but
I've not really paid. I thought Gabzi was a was a female artist at some point but that was the same actually also be that's very, very that's the same thing I did because like bro, like even on Twitter a lot of people. So before the event even happened like that was the main discourse. Like we have no idea who Gabzi is. A lot of people were like, yo Kenyans. Kenyans will just go and support like anyone or whatever, whatever. So what Kenyans will go and support anyone?
What do you mean by that? That's what people were saying, man. This. I'd need to make it clear that's not what I am saying. That's what people were saying. Kenyans will go and support anyone. Why would you say that? Of course they would. But, but, but, but, so I I looked at videos of him performing and people knew all
the words man like to his songs. So I was like obviously, obviously he has like an established fan base and then I think even the the people who were also performing essentially carton raising for him also did well. I heard Charisma AKA Luja Heat also had a very, very good set. Quinnote We know his class. Quinnote also performed. I met I just really random, but I met Quinnote in the studio I was working in on Thursday. Oh, really? It was interesting fire. Yeah, I know.
Shout out to him did. Oh, nice. That's random, but very nice. Very nice. Razor man, the sharp guy. That's so cheesy of me to say that Razor man also just got. It Oh my goodness. I found no, no, no, no, no, no, no, no. Can't do like, yeah, I mean like a bunch of people performed and it looks, it looks like it was lit. But like, brah, apparently people were trying to like really break into this to to the grounds. So it was at carnival because no one is trying to pay.
I saw a funny tick talk about somebody saying they paid 3000 to enter Gabzi for free because I guess people pushed down the barriers and just kind of forced their entry into the event. Let's let's To be honest, that must feel bad, doesn't it? It it shouldn't feel bad. It shouldn't feel bad because because you're not supposed to enter for free, right? So no, you're not. But at the same time, it's like, oh man, I paid for this. No, it's good pay, pay put, pay up. Sorry, no, I shouldn't be
arguing supporting. I don't. I don't condone that behaviour. Yeah. But yeah, I mean and it's dangerous to be honest because like you know people breaking into events and stuff is kind of what led to like the yeah it it's what led to the disaster that happened at Astro World ETCETC. But like, so here's the main discourse. The discourse is like events are kind of like being shortly organized in the country. So this was organized by sounds from Africa or air beat. Yeah.
And a lot of people have been saying the only event worth attending in this country is Gondwana events. I've heard, I've heard good things about, about, about that. Yeah. Yeah, I've heard good things about because because they recently they had the joint event with Kunye, which I find a very funny name. Anyway, they had the joint event with Kunye and apparently that one went very well. Like I had a lot of feedback about the Kunye event that happened, like was it a month
ago or something. I know it's it's such a funny word. Anyway, like I had a lot of feedback about it and apparently it was really, really well organized and stuff. People are also people are also really saying. Make sure you check Gondwana. I don't know the the specific people behind Gondwana. If I'm honest, I'm barely outside so I I don't know the people like, yeah, but Gondwana for sure, even blankets and wine people are very happy about that event.
But listen, Sam, if we even list, if we even go through the events that have happened in the past year and a half or not happened, we saw Thames, the events. Haven't happened. Yeah. Like I was saying, bro, we saw, we saw Thames had to pull out from her event. That was the end of 2022. Yep. It left so many people disappointed. Like, come on man. Like, man, we were. We were. So we were cheated out of seeing Thames, which was honestly very
sad. And then recently this year we saw, pardon Ruger. Is that where you're going? Yeah, Yeah, exactly. This year we saw Ruger had to push back his event and then ultimately the second time around have to cancel it like altogether. And that was shocker. Shockers Festival. I hope they, I hope they paid. I hope they refunded people because that's the last thing they said and I don't think they've posted anything ever since. So that was 12 weeks ago. I hope people got their money so
we saw Rogas had to pull out. I don't. Think they got them, but and then we've seen, we've seen Shancia. Shancia was supposed to come to Kenya as well. She also pulled out and that was also like a breakdown between the events organization and her team. And then also in in events in like events news like there's the popular event the wind down which is like for the I think everybody knows this is an event that's strictly for women and I suppose also non non binary
people. And it's like I remember like maybe two months ago or three months ago on Twitter like there was a popular DJ saying how she wasn't paid by the event organizers for the wind down. And a lot of people were like in support of her and saying yeah like we these guys are moving shadily. So Sam like we've seen all these things happen with events in this country. And my question to you, I know this has been a very long preamble, but my question to you is what's going on with events
in this country? And like what? What can we do to get to a place where, like there can be some semblance of trust between the fans and the event organizers? And just like having a seamless, like, like just a seamless. Production Seamless. Production Seamless, What's it called? Experience. Yeah. What? What say you, man? What say I? I say, I think I do feel like the event space could be facing the problem. I think.
I think it's it's suffering from the same problem that that art is suffering from in terms of the Kenyan space. And this of course this is just my opinion but I feel like it's it's it's the same thing. So Art has this. We have we have an issue where a lot of the times. No, that's not how I'm trying to. That's not what I'm trying to say. I think there's a lack of investment in art itself, I think. I think how so? I for OK, so how art function is you start, you start.
I mean like like let's say let's let's put music, let's say a musician for example, right? You start with what you have. It's low budget, it's everything, but it's what you have. And then you essentially how how we think it's supposed to work is from that you get fans, and from that fans it brings you more money and then you put that more money into the music and and work on getting. So now you work on maybe going to a studio and creating.
From there. And then songs sound better, there's a little bit more money for marketing, it goes out, money comes back in, then you reinvest it into the art and then you start working like big time producers and big time engineers. And so it just keeps progressing in terms of the quality. Of that I think, I think events also function the same way. We've seen a lot of events that are really smaller, but then they have like a good cult
following. But then it doesn't it it a lot of them don't seem to go past that level. I think, I think one of the major problems is just investment. We lack investors in events in order to put down a good show and it. In my mind it's tied to the ticket pricing because that's a very good indicator of of of the the public and the public perception, right what they what they want.
So if let's say a ticket is 3000 shillings for a lot of Kenyans and we talked about I don't know what episode that was but we talked about the socio economic issues that could lead to some of these decisions And some of these problems is 3000 shillings might be a lot for for Leigh Canyon, like just to pay to go for a show on a Friday night. Right now that's on the the the consumer side. Now the people who are putting the show together for them, they do need that money in order to
be able to make. Now we're talking, of course, when I'm talking about this, I'm talking about people who are not finessing, my guys who are actually taking the money and putting it into a good show because there's a lot of finessing going on. So they need that money to pay. Now, if not, if, like it's if not many people are willing to pay for a show, then, and I'm not saying that's a problem. I'm not saying there's a problem on the kind of people. I'm just saying that's what it is, right?
So if not many people are willing to pay for the show, then that means the investors don't make as much or there's not that anticipated or projected revenue from it which they can't take to investors and say OK this is what we anticipate and this is what project which now they don't get the money and then they they're not able to put together show that will be expensive. So it's almost like a it's a what's what's it called? The Catch 22. It's a It's a round trip of of nastiness.
It's a negative reinforcement loop, Yeah. Yeah. So that's part of part of the problems. I do think, yeah, for shows, I mean, we'll talk about it. But for shows to get better, there needs to be a concerted effort in. Yeah, in in setting up concerts. That's absolutely terrible. Sorry, I'm tired. That was a horrible pun. But that's that. I also think the other problem is sometimes I don't. I feel like we over here, we just put together shows for putting together shows sake.
I think there could be more creativity in terms of the shows. But now this is my opinion. Take it to the grain of kosher salt, pink Himalayan salt if you will. Yeah the people just put on shows for show's sake. Like it's not it's not the creativity and the the the uniqueness in like a show shouldn't just be. Well, in my opinion, a show shouldn't just be walking up to a venue and looking at an artist dog sing their songs and then leaving. I feel like there could be more it.
Should be like more of an experience. So it should be. It should be more of an experience. So yeah, that there's a number of things that go into it. Maybe people don't find shows that important yet. Maybe. I don't know. Yeah. What do you think? Yeah. And and honestly, I don't know like what we can do to like improve the event space over here. I I find it curious as to why all these big artists kept on pulling out, but the only thing it can be is finances, right?
I think the events organizers are like playing a game where they because even the guys for Shoke Shoke, they said they were they used the money they got from the early bird tickets to. Like kind of supplement what they had to pay Ruger and all that type of stuff. Yeah. So it's like they don't have like investment outside of that because that's risky. It's like you're you're relying on the money that you're getting from early ticket sales to pay
the artist. But if anything goes wrong, like it's such a fine margin of error. You know what I mean? It's like very like I would assume like it would make, it would make sense if you had more like financial backing to pay the artist like from a separate port of money and then you know what I mean? Because. Then even then how do you go about refunds and all that type of stuff if if you're really like you're playing the game like it's like real it's so
risky. So I feel like the events organizes, organization game is it's it's a very like. I feel like it's, one, it's very cutthroat and two, it's just very stressful. It's not only it's and it can also be very lucrative but it can be very definitely it can be very lucrative. I mean we we we see like in in the West like what do you call them like companies like Live
Nation and. Loud. Yeah, those guys are the guys are raking in millions and millions and millions, but that's because they have systems and they are. It's a machine that's working well. It's also working in conjunction with the labels, so I guess that's right. But yeah, so if it's done well, it. Does. Yeah, sorry. No, no, no. I'm just saying it's like they work in conjunction with the labels.
But yeah, and that's obviously going to work better because now now they have that that, I mean the labels are trying to push their artists so the funding is there for them. So yeah, that that's the thing here. I just, I just feel like I and just like the music scene. I think the the the live performances and the shows and concerts and all that stuff. I still, I feel like here in Kenya we have like such a good opportunity to grow.
Yeah, there are some shows that have been put on that are really good though, and there's some long, long running events and stuff like blankets and wine and the ones that have been there for a long time, you know, which have become favourites, cult favourites, They have their following. But yeah, we do have the opportunity to. Speaking Speaking of opportunities to grow, like we've seen our fellow East African country, Rwanda, they secured the whole of Africa thing.
So that's the partnership with Kendrick Lamar. We didn't speak about it on the podcast, but that's going to be happening exactly a week from when you guys are listening to this podcast, so next Wednesday. And you see this this partnership is between Move Africa and PG Lang, which is Kendrick Lamar's outfit. I don't really know what PG Lang is about to. It's like a label. It's like a do they, Do they? It's like a lifestyle. It's a it's a it's a fashion company, it's but it's
everything. It's everything. They're just curators. Curators are ideal incubator. Yes, that's what it is. It's an. It's an idea. Kendrick is just having a blast. Bro, bro, give us an album. Stop. That's rude to tell an artist. So this is being creative and give us so. What I'm reading is like, say that again. Sorry, no, no, no. I was saying it's rude to tell an artist to to stop being creative in other areas and just give give us an album should stop. Yeah, I will stop.
Yeah, I mean, like, bro, we've seen 103,000 release a whole album. Yeah, of. What did you anyway, by the way? By the way, it just. Just. I didn't listen to it. I haven't listened to you. Are you going to listen to it? You can't be a man of the culture and not listen to a whole, a whole 5 hours of flutes, bro. You need to listen to those flutes, Doug.
I don't know. I don't know if I have the motivation to. I probably will at one point if I play it in the background, because what am I going to do? Sit down and listen to yeah, you listen to how the, the notes, how the, the, the. Yeah, you look, you can't even you can't even continue your BS. Anyway, I was. I was in and out of consciousness and subconsciousness and tells a story that's worth 1000 pictures. No a picture is worth. It a transformative, totally butchered that.
Sorry, Go ahead please. Yeah, we've we've heard that like multiple times. Anyway, but I don't doubt it's a good album. I don't doubt it's a good album. Getting on track. So I was about to read an article or just like the press statement from Global Citizen and Move Africa. So that's so as essentially they're saying they're working with the creative imprint PG
Lang to bring to the world. Move Africa, a global Citizen experience a new long term large scale effort to pioneer a first of its kind international music touring circuit throughout the African continent over the next. Five years. You heard me right. Five years.
The very first event, Move Africa Rwanda will be headlined by Grammy Award, Pulitzer Prize winning artist and Co founder of PG Lang. Kendrick Lamar, Zuchu and Bruce Melody are also set to light up the stage as performance performers at the show and Kendrick Lamar's creative imprint. PG Lang will also serve as the curator of the Move Africa events for the next five years. I bet they got a huge bag for this whole thing.
Yeah, maybe. So, so they they also go on to say this is a unique collaboration that aims to showcase the best of African creative talent to the world. Through curated, memorable entertainment experiences that address, that address development priorities of our continent. And yeah, so. So essentially what they're saying is like, it's not even just gonna be about Oh yeah, let me just read this real quick so.
They said that the inaugural Move Africa event will focus on the need to strengthen health systems, with a specific emphasis on supporting community health workers, adjusting the climate crisis, particularly its impact on food security and security, securing support for smallholder farms, and tackling the lack of access to economic opportunities for future generation generations. So I'm just saying like, it's
not. So it looks like this whole Move Africa thing is not just limited to the event space it looks like they're trying to do. A lot of things outside of that as well, which is very cool, seems to be super helpful as, as well as they want to come into the African space and kind of make this like like integrate this into the global circuit of
events. Because you, you know how whenever like a Beyoncé or Taylor Swift say they're going on a glow like on a world tour, it doesn't include Africa. So hopefully, hopefully they're kind of like establishing that framework. I also hear like now when they go to like Rwanda. Like they're going to train a lot of these people into like how to have like a high quality, high standard international, high international standard of
like events. And I'm hoping that in within this next five years they can come to Kenya as well. Because it seems like we really need this type of thing to kind of yeah, you know you can you read stuff our our scene. Yeah, for sure. Can you really benefit from that? Because I think it's it's one of the at least in Africa it's one of the what do you how do you say it culture forward places where it's like Kenya is a lot seems to be in tune. Oh wow.
So you're saying that the places in Africa are not culture forward. I mean, sidestep that one because that's a chap. OK, That's a chap. I found you're trying to chop me. Yeah. So I mean some of the the countries that are usually mentioned, South Africa, Kenya, Nigeria, now Rwanda is quickly making themselves putting themselves into that picture and stuff like that. So like it would be really good to see that and happen. Yeah. And I think we would really
benefit from that, honestly. I will benefit from PG Lang. PG Lang just help us out man. Come, come and save us man. Come and save us from the from the mud. How can how can we save us from the mud? Please bro, we only have one trustworthy like event. Like everyone is just like Gondwana. That's it. Like everyone, like everything else is just part. I mean, I've heard good, good things about. I've never been to a single blankets and wines for the past 13.
Yeah, OK, even blankets and wines, but like, fine, but also that's. 2 events. It's two events, some that like people have like somewhat like, yeah. Faith in the rest is just like, who knows? Something could just get fucked up. Like in the net, you know what I mean? So yeah, the the ground is ripe. I hope the ground is ripe for good events. The ground is ripe, I hope. I hope Move Africa are looking at the Kenyan space because we
don't want to have more. Events where people are being tear gassed and beaten and shot with rubber bullets. Yeah, I went out to have a good. Oh yeah, and then also some. Remember, there was the whole there was the whole debacle with boys to men. I even forgot to bring that up. That was the whole thing as well. That was a huge because of the sound. And then like you see, yeah. And then, I mean there's all
these other. There's just so many examples and then two chains and all this business that people end up really it's it's I don't know, man, I don't, I don't know what it is. But then they're just we definitely have. There's just so many ways to go. Yeah, there's just so many examples of of the events seen over here kind of letting us down. OK, so yeah, moving on to new music. Sam, what did you listen to? Why are you laughing?
I don't know why it's. Listen audience, this is an audio only podcast and I don't know why Sam is laughing unexplicably. Anyway, OK, I'll just. I'll leave it. I'll leave it because you've you've you've requested. So we shall we shall leave it. Sorry. Just let me not break the 4th world. We're back. Back. Back into the first. One, Yeah. Don't break the 4th one back into the anyway. Back into the picture music new. Music. Do you want to start or should
I? Let me just start with like a few songs that tingled my ear hairs, Tingled my ear hears, he says. So I listened to the song by Bahati and Nadia Mukami Baby, you. That was dope, bro. And then project by Zoe Kengocha, Oh my God, what a song. Like bro. That shit came out and I was just so hyped. For me personally, that was my favorite colours like like song. Like I was just. Yeah, for me, like, Zoe really came through.
And I'm so happy for her because like a lot of people like were discovering her through that, which is just insane. If me and you really had some guts we would rank the colours performances, but I don't think we have those guts yet. Yeah, and who's that going to help, really, anyway. I mean preference, because you put this one at the top, so you're definitely ranking it, so you're not going to sidestep. Like I I haven't. I haven't thought about it.
I haven't thought about it. I have only thought about which was my favorite. And I can say I saw personal opinion. Either way, we shouldn't be afraid of personal opinions. But. And let's continue. Yeah, yeah, so yeah. So bro, shout out to Zoe, bro, man. Like, I feel like her trajectory is going crazy right now, man. And she's so young. She's like 21. So bro, Zoe is definitely going to be a name in the industry. And listen bruh, our ear is unmatched because we played Zoe
in this podcast ages ago. So big up ourselves, man, for seeing the potential. So just another woman by Sophie and Zao. I mean we know Sophie and Zao is having a blinding. I love what she's doing. Yeah, she's she's capitalizing off of. Of the marquee hype, which is really good. I've also seen a lot of other producers capitalizing. Like a lot of them have also gone into those vocals and they're now releasing like, so that's pretty. Interesting. Well listen, I respect the
grand. Oh our guy Waire, the love child and Kalamoto released and never let go. It's good to see. Like the legends are still releasing music, man. Yeah. Speaking of of legendary titles over 18. Well. Okay. So I was trying to bring like Jim Watt under 18, any what happened to Jim over 18, where is Jim Watt, where is Jim? I don't know, but I heard it's a long story. And yeah, that sounds so disappointed. Yeah, we need, I need to know that story. Bro, Jim. What?
Had the streets in a tizzy? No, there's some of these Kenyan musicians who just disappeared and at at at some point I need to start. We need to start doing it. There needs to be a duck. A duck needs to come out. Yeah, there needs to be like a duck. Yeah. Yeah. Yeah. So yeah, I'm over 18 by Big Yassa. And then I I can say, oh, Sam, we need to talk about the new kid on the block. Literally. Like, it's super new.
So let me tell you how I first, like, encountered this guy's music, Sam. So for those of you who don't know, and a lot of you wouldn't know because this is like literally his first like project he's released a project called Time Allows. His name is Altair Saeed. And he is. I hope I'm pronouncing his first name properly, but he is a new artist, very young, I think he's 19 years old and he looks like the new Saini Undersold headquarters, which we know is Faye's outfit.
Faye famously manages Zenia and Karoon, as well as I think BT, but I I would need to be. I wouldn't. I I thought so, but I don't know. But I think Betty as well. But anyway, Um, so she's also managing side. And listen, we know Faye has a really, really good ear for R&B and UM. This is something really special that's cropping up here because like, I think Saeed is going to be a bro. He's 19 and he sounds so freaking good, man.
So we had an event at the studio earlier this year and this was a Nikita catching event and she was like, yo, I have this friend and I want him to like go on stage and whatever. And I was like, OK and well, I was just like, OK, let me see what he can do, bro. Goes on the stage and is absolutely. Totally fantastic. I I go to him and I'm like, bro, you killed it. Like, you sounded so, really so good. And I was just like, bro, I got his number. I was over there fanboying over, over, over.
This guy's like, bro, I really was, man. I was like, I was. I was really. I was no bro. I really was because I was like, bro, this guy's actually really solid. So anyway, I mean, no, the the yeah, I I I mean I listened to the project and I was like this is like it's good. It sounds, it sounds good. It sounds good, it sounds good. It sounds well written, well performed. It's very exciting. Well produced too.
It's very exciting. I'm, I'm looking what to see what he does and the different types of R&B he brings to the table. Yeah, I mean he's in. If he's in face hands, he's in good hands because we've seen what she's doing with the people over there. It's pretty cool. So shout out to him, man, shout out to him. Definitely looking forward to more music. Of course, this is just the first, his first project and it's sounding great. So let's let's go. The ceiling is high.
What else did you listen to? Sam the. Ceiling is high. I'll if I'm being 100% honest, I haven't really sat down with music. I've gone through a bunch of stuff. I'll just pick out some of the ones that I really liked. First off, I want to shout out the boys at Espresso. Oh, yes. They dropped something. It's called which for all our non-english. I mean our non Swahili speaking people. Do you think we have non Swahili speaking people? Listen to the podcast. Yes, Yes.
OK, we do. Have all our non Swahili speaking people. It means what? How would you translate them? Super painting? Yeah, shout out to them. Shout out to them. Again, we talked about Freedom By by by Sabiu Freedom Two. He released Freedom One earlier, which is cool. Freedom 2 by Sabiu. I checked that out. I haven't gone through it, but now I'm. I'm going to sit down with it and see what it sounds like. Honestly, I don't know. There's not much else, bro. There's not much else, no, no, no.
There's also. I want. To point out something, sorry, there's there's this culture of sampling which it seems to be on the rise in the Kenyan music scene, and I thoroughly enjoyed it. Admiral sampled what songs are no matter what I do. Is that the one dilemma? Dilemma. Yeah. Yeah. And Song called Ain't Mine, Ain't Mine, which is cool. I I I thoroughly enjoyed that beach. I turned it to a Jersey club joint which is not she but I don't know if she's going to produce it.
But yeah that was that was interesting to listen to. I like the culture of sampling. I think it's it's a new frontier that we're getting into. But it's it's it's it's it's the it's it's part of the new urban tone wave yeah urban tone with an A which I think I think I'm safe in saying like one of The Pioneers of urban tone is little minor. But anyway, go ahead. Yeah, yeah. So yeah, that was cool. That was cool. Just a whole bunch of releases. Check them out, man.
Check them out. Check them out. Check them out. Oh brah, brah brah. Before he forget, man. Before Yeah, I you've You've forgotten to there was the other sample song was Bad Boys by from from Frank White. I think they're the guys who sampled the whole kleptomaniac song. Yeah, but now I listen. I don't know how I feel about this, OK? I'm still, I'm still sitting with it. I'm still trying to feel it.
But then essentially this is it's, it's it's a beat when once once you play, it's like it's one of the most iconic beats that have come out of this country. Like I don't know who produced that. Actually. It'll be good to go to go back and check who produced it, so we can just ask. Oh yeah, I could just do that. But yeah, it's for me. That was interesting. I don't know how I feel about it. I don't know how you feel about it. It's like.
Especially going on streaming. I don't know whether I like it. I like it. I just wonder if people are clearing samples. I don't think they are, but like, hey, listen. As fellow producers, we have St. Codes. You don't want the samples niche, but at the same time it's like, yeah, yeah, we have codes. So another sort, another song that came out there was The Lost Cause Rap Freestyle by Asam Garvey. I really fuck with Asam. Oh yeah. Shout out to Kaksi. Kaksi produced that.
I like that shout out to Kaksi Kaksi on the beat. There's also bred up by System Haven and Omawama Figi. That's on some Kilimani rapper vibes. There was Kimbokita by Mboki Genji. There was Reggae Genji by Unspoken Salaton. There was some reggae vibes. And then I think finally the last song I listened to was Flow, so-called by King Kirby and O'Hara. O'Hara is an artist, she's not Kenyan, but she's from South Africa.
So it's good to see that cross country collaboration between Kenya and South Africa. I think it's really fire. The song is fire. And listen, I don't even have to say it anymore. The video is fire because Kirby has been churning out like some really, really fire videos of late. But anyway, Sam, I'm thinking for today or for this week, we should really, really highlight the new kid on the block, Altair Saeed. Because bro, I think he if time allows, he's going to be a
really, really big star. See what I did there, bro? Anyway. I see what you did. Anyway guys, thank you. Thank you so much. I will take my flowers. Anyway guys, this is Time Allows from his debut EP Time Allows by Altair Saeed. I never would have thought I'd meet a soul with so much contacts in my inner self. It's all exposed to you, and I don't understand why I'm so compelled. I'm certain it's a spell. A story only I can tell. I want you to hold on to me tight, 'cause it all just feels
so nice to be right here. When you meet, I want to feel all you can give. I want you to hold on to me tight, 'cause it all just feels so nice to be right here when you meet. 1000 words just ain't enough to tell you how annoying I am of every single part of you. And we don't need to complicate who we believe. Trust that you'll be safe with me in certain, but in time you'll see. I want you to hold on to me tight, 'cause it all just feels so nice to be right, you and me.
I want to feel all you can give. I want you to hold on to me tight, 'cause it all just feels so nice to be right, you and me. I just want to feel what time allows us to be. Should hold on to me inside. To hold on to me tight because it all just feels so nice to be right here when you need. I just want to feel the time I was to be that was time allows by very Altair side. Smooth vocals on that. Very smooth. No, I I really love the the melody he's doing on that hook,
man. It's actually very, very. And it doesn't. Yeah, and it doesn't sound bad too. This very sounds very decently engineered, bro. Yeah, I mean, shout out to the guys. I saw Eugene Kanugo's name there and the credits, so shout out to him. But listen Sam. Yep, this was a really, really good installment of the 30% podcast. You know where to find us. You can find that at the beginning of the podcast. Yeah, if I do say so. Myself and guys, listen, we are this. Episode Very excited. Three.
Yeah, we're super excited for for you guys to hear the next episode. Yeah, yeah, yeah, yeah, yeah. Oh, man. It's going to be a good one. It's going to be a good one. In the words of Boutros, Yeah, yeah, yeah. Anyway, guys, absolutely brilliant. We shall catch you. We shall catch you guys. Thank you for listening, 54. Thank you for listening. Yeah. Thank you for listening. Thank you for everyone who's rocking with us. We're rocking with you too, I
think. Yes. Yeah. And listen, I mean, I haven't said this in a while, but we started this podcast to highlight Kenyan music and we don't forget that that's our main goal. It's to put Kenyan music, the Kenyan music industry and the music itself on a platform where you guys can actually interact with what's happening in a podcast format and hopefully, you know, look at the artists who we talk about and think about the issues that we raise. But. Yeah, guys, start the
conversation. We shall see you. Solve the problem. We shall see you on episode 50. 54.