NAIROBI, Kenya — Jamaican dancehall star Konshens has named Bien, Toxic Lyrikali and Ethic Entertainment among his favourite Kenyan music acts, praising their work and expressing confidence in the potential of East African artists to reach wider international audiences.
Speaking during an interview on Sunday, October 25, 2026, Konshens said he had followed Kenya’s music scene for some time and was familiar with several local performers.
“I have been listening to Kenyan artists for a while. I see Bien doing big things, Toxic Lyrikali, Ethic; I have known them for a long time,” he said.
The comments highlight the Jamaican musician’s continued interest in East African music, including artists working across different styles, from Bien’s contemporary Afropop sound to the urban music associated with Toxic Lyrikali and Ethic Entertainment.
Konshens also reflected on the pace at which new musicians emerge, gain popularity and sometimes struggle to sustain their momentum. He said the changing music landscape made it interesting to follow artists’ careers and discover new talent.
Konshens on taking East African music global
Beyond naming his favourite Kenyan acts, Konshens offered his view on how musicians from East Africa could broaden their international reach.
He suggested that incorporating more English into their songs could help them connect with audiences beyond the region.
“If artists did more songs in English, East African artists would be massive in the world. But because it is Swahili…” he said.
His remarks touch on a wider debate in African music about language, international appeal and artistic identity.
While English can help some performers reach listeners in markets where it is widely understood, music in Swahili, Sheng and other African languages can also build strong connections with audiences and contribute to distinctive musical identities.
The growing international visibility of African music has shown that language is only one of several factors that can influence an artist’s reach.
Collaborations, digital distribution, live performances, promotion and the appeal of a song across cultural boundaries can also play a role.
Konshens’ comments therefore raise a question for East African musicians: how can they expand their global audiences while retaining the languages and sounds that distinguish their music?
Bien, Toxic Lyrikali and Ethic’s place in Kenyan music
Bien, formerly a member of Kenyan group Sauti Sol, has pursued a solo career with a sound that blends Afropop and other musical influences. His work has also included collaborations with artists from outside Kenya, helping introduce his music to different audiences.
Toxic Lyrikali has built a following in Kenya’s urban music scene, while Ethic Entertainment became widely known through the gengetone movement, particularly with songs such as Lamba Lolo.
By naming the three acts, Konshens recognised performers associated with different strands of Kenya’s contemporary music industry.
Also Read: Jua Cali says TikTok era has made young musicians too comfortable
His interest in the artists also extends beyond listening. In an October 2026 post defending his long-standing relationship with East African music, Konshens referenced his involvement in the Backbencher remix associated with Toxic Lyrikali and the Figa remix linked to Ethic Entertainment. He has also highlighted collaborations with Ugandan singer A Pass.
Those connections suggest that his engagement with the region has included musical collaborations as well as performances for local audiences.
Konshens’ longstanding connection with East Africa
Known for dancehall songs including Gal a Bubble and Winner, Konshens has developed a following across East Africa and has repeatedly spoken about his relationship with fans in the region.
Earlier in October, he addressed requests from East African fans who had waited years to see him perform live, saying his connection with the audience was a reason he wanted to make the experience worthwhile despite changes to scheduled performances.
His latest comments add to that relationship by drawing attention to Kenyan musicians whose work he has followed and, in some cases, collaborated with.
While Konshens believes greater use of English could help East African artists reach more international listeners, his praise for Bien, Toxic Lyrikali and Ethic Entertainment also underscores the range of Kenyan music attracting attention beyond the country’s borders.
