Interview with Rising Kenyan Artist Fadhilee Itulya

Kenyan musician Fadhilee Itulya has released his first album titled Kwetu. Fadhilee Itulya is one of the rising talents from East Africa. He also presents Kenyan musicians and supports other artists. He talked to us about his career and Kwetu.

What are your fondest musical memories?

My fondest musical memory has to be topped by playing at the Sauti za Busara Music Festival in Zanzibar in 2019. First, I love the cultural festival for its authenticity and its diverse selection of art, its structure and execution I love it. It feels like a luxury vacation in a Swahili island as well as an unfiltered cultural experience of Zanzibar’s’ everyday life with some of world music’s best in the background. I actually attended it religiously for over 6 years to watch and learn from the best (in my modest opinion) and worked on my sound on my set, on my delivery, stage presence and so much more. And without fail each time I learned something new. I have no shame to admit I have grown so much from just that. It’s been my school.

Another fond one would be All Africa Music Awards (AAFRIMA) in Ghana 2018. The exposure it gave me opened my eyes to a world of possibilities. To a realization of the kind of business I’m into. It shifted the bar. I came home a new man after seeing the level of excellence my counterparts were executing and to be in the company of my biggest role models, idols and renowned stars as a fellow artist hits you differently. No, I didn’t win the award but the honor just of a nomination in best African jazz category and what I learned changed my life significantly.

What was the first song or melody you learned?

The first song/musical melody I learned is a hard one to answer. I’m raised in church so I’ve been surrounded by melody since childhood to be honest but when I first picked up a guitar and learned a few chords, the song I wanted to know first was ‘Malaika’ by Fadhili Williams.

What do you consider to be the essential elements of your music?

I consider rhythm, chants, call and response, storytelling, activism and unpredictability, essential elements of my music.

You appeared in album titled Spotlight on Kenyan Music in 2018. How did this affect your career?

Spotlight on Kenyan music was the platform that ushered me into my career. The album gave me a sense of direction; it’s been like a moral compass when I’m tempted to sway off the path. Also provides a very welcome sense of identity for me especially the focus was on authentic Kenya sounds.

Tells us a little about your album Kwetu and who plays on the album.

Kwetu is my debut album, recorded in my house April 2018. It’s a very special project because it features music that is closest to my heart. It’s the image,interpretation of my sound and my thoughts and ideologies at the time and most importantly a clear interpretation of my musical identity.

The album features my oldest musician friends like the my best female vocalists Joan, Janet, Grace and Regina; my bassist Michael Onyango; Emma the drummer; Mobutu Nyese on percussion; and my best friend Tetu Shani, a wonderful musician in his own right, plays percussion in “Freedom.”

All bonus tracks have Isikuti drums played by Boniface Muhetsi. a traditional Isikuti star back home in western Kenya. Andrea Ferrero (Italy) plays guitar in the rocky Tabasam. Isaac plays guitar in the luyha groovy song “We don’t Know” and “Nairobi” that has that Kenyan rumba style. Dela and Hart, the band’s Shiraa both Kenyan stars feature in the same song Nairobi & not forgetting my newest friends including Adama Diarra (Burkina Faso) who plays the soulful chanting African flute in track no 1 “Afirika.” Kwetu basically has so much color so much diversity to depict the wealth of musicianship and vastness of our sound.

There are four bonus tracks on the album described as Isukuti percussion from Western Kenya. Can you tell us more about this type of percussion and the names of the instruments used?

Isukuti is the sound of the kits people of western Kenya. The instruments used are three handmade drums crafted from a log and hide. The skin is of a monitor lizard because it stretches a as you drum you can bend the pitch to create accents and tone color. And if you’re going to make an economical one, cow skin does it but the sound is different. They vary in size and are just labeled father, mother and child and all three have unique roles in the music. The drum is held by a strap on your shoulder and lays under your arm.The father is the biggest of the three and lowest in pitch. He holds the groove often on a 3/4 time signature. Think of the bass drum. The mother is not a s low in pitch has the rhythm of the music and often the technique is polyrhythmic to compliment the groove. The child is the lead instrument; its tone is high and plays in between the other two for accents. It’s impossible to stand still when these drums play.

Your style is influenced by Kenyan guitar music called Omutibo from the Luhya people of Western Kenya. How would you define Omutibo music and is it popular in other parts of Kenya and east Africa?

Omutibo is a style of music pioneered by the late George Mukabi who passed on in the fifties. It’s old and unknown to many now but it was the most popular sound of back then because of course the fingerstyle guitar the singing and the storytelling. Many got influenced by this style as far south as Zimbabwe because back in the day it was only in Nairobi, Kenya you could record music in East and central Africa and so these records sold so far and of course one can tell certain similarities in sound if one is keen.

You host a monthly concert series called Fadhilee’s garage. What type of artists play in these concerts?

Fadhilee’s garage is a monthly garage concert (1st Sunday of the month) which provides an exclusive evening of fun, friendship, acoustic music, literature and good vibes. The evening pursues an intimate, performed and visual art and acoustic live music experience for both the listeners and featured performers. It is a space where listeners’ sense music and art they are not experiencing anywhere else this closely. All kinds of artists are welcome. I’ve hosted everything from local artists to poets, photographers, traveling musicians.. It’s a circus all of it in my garage, ha ha ha ha ha. Eventually we opened up a space called Kwetu Space that has unfortunately been hit hard by the current coronavirus pandemic and we can’t afford to operate and have had to close down and hold back a while.

Are the concerts still happening physically or virtually?

At the moment I’m hosting Sundayschool Nairobi on my Instagram page @fadhileemusic every Sunday 8:00 pm E.A.T to keep the Fadhilee’s Garage vibe alive but it’s difficult to host an artist with the regulations and curfew, of course, and with no compensation in these uncertain times. But I’ve tried hosting twice and we pin a tip jar for donations like we had a hat going round during the garage sessions too. It’s quite different though from engagement to just the energy.

You are also the founder of Utam Festival (Kenya). Tell us more about this event.

The name Utam means sweet in Swahili, but is also the root of the word Utamaduni, which means culture. It’s a multicultural festival that seeks to share all forms of visual and performed art. It ran three consecutive years beginning 2015 and the festival basically centered around culture community and conservation. Unfortunately we’ve not been in operation for two years now because of funding but hopefully things will get better.

Although we are starting to get some music from Kenya, the majority of the African music we are getting is from West Africa (especially Mali) and South Africa. Why do you think Kenyan music is not as well known in Europe and North America?

I think East African music is not as well-known as West African music primarily because of representation. I believe it’s also a case of first come first served and if people are fed one thing over a long period of time they tend to only like and classify a sound based on what they’re used to. And to be fair I would say neglect also from East African players. I believe that it is the duty of government and its respective departments to promote its peoples culture and sell itself out there. I haven’t seen that a lot in East Africa. In fact on the contrary I have seen the latter more. I have seen legends die in dishonor. I’ve seen national treasures die in abject poverty and shame. I am however grateful for the rising change and interest in our sound in our own identity and for the chance to tell our own stories to the world. Better late than never. I don’t know if the world is ready yet though.

How is the roots and world music scene in Kenya? Are there artists you would recommend?

The roots and world music scene in Kenya is not huge but it’s growing. I would recommend the late Ayub Ogada, one of my biggest mentors; Eric Wainaina, Makadem, Olith Ratego, Winyo, Suzzane Owiyo, Labdi, Idd Aziz, Said Abdalla, and so many others

Your website sells handcrafted Kenyan backpacks and bags. Are you involved with the crafting of these goods?

The handcrafted goods you see on my website are products of friends of mine and Self-help groups that I support. I’m only involved in the design and customization to bridge the product and my art so they all tell a consistent story.

How has the COVID-19 pandemic affected you in terms of work and livelihood?

COVID-19 has totally thrown me off. I’m more of a performing act than a studio artist and the fact that no masses can gather basically means I can’t work. I have tried to pull off some online live shows on social media that have proved really difficult and even frustrating in terms of exchange of energy and synergy, and financially. Basically, the virtual estate is a whole different dynamic for me and it’s been hard. I’m currently pursuing different avenues to make ends meet including opening an online accessories shop because fans and peers alike are constantly asking who does my wardrobe. “Well it’s me.” I always say. I just go digging out unique stuff that tells my story and now I get to put it online and try sell them. I’m also doing interior design as a side hustle. I’ve had quite a number today; friends stop by my house and want to do photo shoots and music videos and now I offer to remodel their houses and customize them to their desired appeal.

What have been doing these days while there were orders in many countries to stay home?

During this period Kenya has also been on lockdown. We have also been pressed to stay at home and I have learned to record myself songs enough to make three albums.

I am happy to say my second album “Shindu Shi” will be submitted this September for consideration of an early release next year with my label Naxos World. And that the entire album has been recorded in my house during this lockdown period. I consider it my most impressive work so far. It’s literally ‘homemade,’ Ha ha ha.

In what ways are you promoting your music?

I am currently promoting my music by sharing live acoustic performances on my YouTube channel fadhileemusic. I am also sharing the same links in my social media @fadhileemusic on all platforms and selling music merch as well.

If you could invite musicians or bands to collaborate with, who would it be?

It would be Lokua Kanza, Mali’s Habib Koite, Mokoomba from Zimbabwe, Angelique Kijo, Sara Tavares, and so many more.

Are there any additional future projects to share with us?

Well, future projects to be excited about…just the next album for now, dropping early next year.

Author: Angel Romero

Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.