Nameless at a past performance.
At about 9.30am, an attempt is made to reach renowned Kenyan musician Lenson Njuki, popularly known as Mr Lenny. The response is brief: the celebrated vocalist is unavailable, immersed in rehearsals with his band ahead of the launch of his album Hisia Zangu scheduled for September 5.
By 1pm, however, the singer calls back, ready to reflect on his musical journey and the changing tides of Kenya’s entertainment industry.
For years, Mr Lenny, whose memorable hits include Wasee wa Githurai with Mr Googz and Vinny Banton, Juju with Nameless and Baby Don’ Go with Kunguru, had retreated from the limelight. His prolonged silence left many wondering whether the curtains had finally fallen on a career that began in 1998. Now, more than a decade later, the artist is back in the studio as he prepares to release a 20-track album.
In a phone interview, Mr Lenny said renewed opportunities for veteran musicians, particularly performances in Nairobi, had inspired his return.
“Who would have thought that I would be releasing an album with such good music in 2026? There was a time I had decided to stop music, but three years ago, I sat with my manager and said we have to bounce back and do something. This is because of the reception I and other veteran artists have been receiving of late,” he said.
His story is part of a broader resurgence in Kenya’s entertainment scene where nostalgia has become big business.
Across the country, Millennials Nights, Throwback Shows and Old Skul R&B events are drawing audiences eager to reconnect with the music that defined their youth. For performers whose careers had been overshadowed by newer sounds, the events have provided fresh stages and, importantly, a source of income.
Mr Lenny performs during the event dubbed 'The Plot' on October 24, 2015 at the Carnivore Grounds Nairobi.
Mr Lenny, Ukoo Flani Mau Mau, Jua Kali, Nameless, Sanaipei Tande and DJ Pinye are once again landing performance deals, often before audiences who grew up listening to them.
“It is a good thing for us because those who went under for some reason or the other are now coming back. They may have had many challenges, dropped music and resorted to other things, but the talent they have doesn’t die. It only needs reawakening, like what we are witnessing now,” Mr Lenny said.
He believes the resurgence is also about people reconnecting with a part of their past.
“When you are up there performing before these Millennials and a mixed crowd, it feels like a rebirth and the love is real. When we mingle after the show, some tell us that when we released certain songs, they were in Class Seven or Class Three and could not attend our concerts. But now they have an opportunity to see us perform and even mingle with us,” he said.
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On August 1, Kenyan reggae and RnB icon Wyre, popularly known as the “Love Child,” performed at the REWIND, Millennials Hangout Season 3 season in Embu town. Event planner Setian (Sety) Ndwiga said: “We want guests to forget today’s pressures for a moment and simply enjoy the music that shaped their lives.”
While throwback shows are not yet as numerous as he would like, Mr Lenny said he earns at least Sh100,000 per event, with the figure expected to rise as the peak season approaches.
The veteran artists are also supporting one another, with Mr Lenny citing events such as Nameless@25 and Redsan’s upcoming anniversary celebrations. He said such appearances are often driven more by friendship and solidarity than payment.
Kenyan Dancehall Artist Redsan Performs during the Extravaganza Concert at Cabanas Grounds in Nairobi on September 6, 2014.
On Saturday, Carnivore Gardens will once again come alive as Kenyan dancehall icon Redsan celebrates 30 years in music with a milestone concert, Redsan @ 30.
The event, for which Nation Media Group (NTV and NationFM) is the media partner, will feature a star-studded line-up, including T.O.K (Bay-C), Brick & Lace (Nyla), Chameleone, Bebe Cool, Jua Cali, Wyre, Nazizi, Daddy Owen, Zzero Sufuri, Dyana Cods, DJ Pinye, Kriss Darlin, Double Trouble and Wesley.
Jua Cali, another beneficiary of the trend, attributed part of the resurgence to the internet, which has allowed old music to reach younger listeners. He cited his songs Kiasi, released in 2005 and Kamata Dame, released in 2004, which remain popular.
“... to many artists, it is more than making the money, it is about how they are appreciated when they are up there. The cash is just a by-product,” he said.
Sanaipei Tande performs on stage during the Ngoma Festival held at the Uhuru Gardens on October 28, 2018. PHOTO | FRANCIS NDERITU
For club owner, event organiser and DJ Bob Onyona, the throwback phenomenon has its roots in the United States, where R&B-themed nights first became popular. In the US, he pointed to artists such as LL Cool J, Ludacris, TI, Method Man and Will Smith, who continue to release music, while R&B acts including Joe, Blackstreet, Boyz II Men and Xscape have held sold-out tours.
In Kenya, he said, veteran artists are benefiting not only from performances but also endorsements, advertisements and podcasts.
Mr Onyona explained that most established artists and DJs have managers who secure bookings, while some who had fallen off the entertainment radar now deal directly with clients.
“We pay them from Sh40,000 a night for appearances including free drinks, accommodation, food and flights to around Sh200,000 for the bigger artists or DJs,” said Mr Onyona, director of Alleyways Beer Garden Club in Kisumu.
Nameless at a past performance.
He said the appeal cuts across generations. Millennials and older fans come to see performers they grew up listening to, while younger audiences are often drawn by the buzz surrounding the events.
“Some get to see the ones they missed attending their shows and live performances for various reasons, from financial constraints to growing up in areas that had fewer shows’,” he said.
Juacali.
Mr Onyona said younger fans can lose interest when the music remains exclusively old school. As a result, organisers often switch to contemporary music later in the night to keep the different generations engaged.
Entertainment consultant Gordon Omondi, alias Gordo the Guru, believes veteran artists are now operating in a market that is more lucrative than there was during their heyday.
“Veteran artists now get to enjoy real money because the circulation of their music is better. They created bangers, but back then the industry was not as big and liquid as it is now. You can imagine now, someone is able to pay for a Sh3,000 or Sh5,000 ticket for a throwback event without feeling a pinch. These events have given them a lifeline,” he said.
Mr Omondi added that musicians can easily earn six figures from a single show and are receiving a boost from Gen Z who are discovering older music online, sampling it, performing renditions and taking part in challenges around classic songs.
Veteran DJs are benefiting too.
Mr Omondi said the growing demand for old-school music had revived the fortunes of DJs who had previously shifted to low-key events and corporate functions. While organisers can brief younger DJs to play old-school music, he said, audiences respond differently when the person behind the decks is a DJ associated with the music and era.
Stephen Otiato, popularly known as VJ Slim, who deejays at such events, believes the shows also offer an opportunity to pass the culture of the earlier entertainment scene to a younger generation.
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