OPINION: Will Kenyan musicians navigate ethnopolitical cancel culture?

Deputy President Professor Kithure Kindiki with a section of musicians from the Mt. Kenya region after a meeting at his official residence in Karen last week. DP Kindiki pledged to support the creative industry and provide long-term solutions to the challenges facing the sector.

A seemingly innocuous courtesy call by a group of musicians to Deputy President Professor Kithure Kindiki's residence in Karen, Nairobi, has ignited a firestorm of public debate, both online and offline.

What might have passed as a routine engagement has now become the epicenter of a heated conversation about political loyalty, freedom of association, and the creeping influence of ethnopolitical cancel culture in Kenya’s creative industry.

The controversy escalated sharply on May 25th when former Deputy President Rigathi Gachagua, speaking during a church service in Kangema, Murang’a County, publicly called on Kenyans to deplatform the musicians—urging people to massively unfollow them, snub their shows, shun their music, and even block them from events—for meeting with Deputy President Kithure Kindiki.

He claimed his comments were based on a meeting and directive from community elders, who allegedly viewed the artists’ visit to the Deputy President as an act of betrayal.

The backlash was swift. Social media platforms lit up with criticism, debate, and concern over whether the musicians were being punished for engaging with a political leader outside of their perceived ethnic or political fold. A broader question quickly emerged: is this simply political posturing, or does it signal a more dangerous trend of cancel culture driven by ethnicity and political affiliation?

In a statement to newsrooms, Dennis Itumbi, Head of Presidential Special Projects and Creative Economy Coordination, condemned Gachagua’s remarks.

“Your statements are not just insulting. They are economically reckless, politically desperate, and spiritually dishonest,” he stated.

Itumbi further emphasized that, for the first time in Kenya’s history, the creative economy is supported by a fully-fledged State Department, structured policy, and government programmes designed to protect artists’ rights, improve their earnings, and integrate the sector into national development.

“Do not bow. Do not flinch. Your gift is your power, and your platform is your purpose,” he urged the musicians.

The controversy has triggered widespread anxiety within the creative industry. Beyond reputational damage, the affected musicians now face the real risk of economic loss. Already, there are claims on social media of artists likely to face declining online engagement, fewer bookings, and fears of being blacklisted from key events or community functions. Others worry about losing endorsements, partnerships, and even loyal fans who feel pressured to choose political or ethnic sides.

The incident has struck a nerve. Music fans, commentators, and industry insiders are divided. Some view the backlash as a reaction to political alignment, while others see deeper ethnic undertones at play—especially given the artists' language and the regional political dynamics.

This latest episode highlights an unsettling trend: cancel culture by association, where creatives are ostracized not for their art, but for their perceived political or ethnic affiliations. The implications are profound—artists may begin to self-censor, avoid public engagements, or decline opportunities for fear of backlash.

In a country as diverse and politically active as Kenya, there is a need to confront the cost of ethnopolitical cancel culture. Such dynamics, creatives say, pose a serious threat to creative freedom, artistic integrity, and sustainable livelihoods.