The Furaha City Festival in Nairobi, held on December 7th, was a hotbed of controversy that sparked a public spat between Tanzanian music superstar Diamond Platnumz and Kenyan comedian-turned-activist Eric Omondi. The incident highlighted deeper issues within the East African entertainment scene, particularly the treatment of artists and the dynamics between the two countries’ music industries.
The Incident at Furaha City Festival
The controversy began when Eric Omondi voiced his frustration over what he perceived as the unfair treatment of Kenyan artists at the festival. He criticized the festival organizers for providing VIP treatment to international artists, such as having exclusive backstage areas with luxury amenities, while Kenyan musicians were relegated to more modest conditions. Omondi pointed out that many local artists struggled with basic logistical issues, like gaining access for their teams to the venue, while their counterparts from Tanzania and other international artists arrived in motorcades and enjoyed lavish setups.
Omondi’s outburst was not just about the logistical discrepancies; he argued that it represented a broader issue of systemic bias against Kenyan artists in their own country. He noted the irony of fighting for equality only to see disparities in how artists were treated at the event an issue he has been vocal about for years. “We fought for Kenyan Artists/Music for two Years Non Stop,” Omondi stated on social media. “I believe in one Principle…‘Just Plant, You will harvest later.’ We were tear gased even arrested for pushing equal Treatment and Pay for Kenyan Artists.”
Diamond Platnumz Responds: The Debate Over Unity and Success
In response to Omondi’s criticism, Diamond Platnumz took to social media to address the situation. Diamond, who has enjoyed immense success both in Tanzania and across East Africa, argued that success in the music industry isn’t achieved by tearing others down but through hard work and perseverance. He reminded Omondi that collaboration, not division, is the key to achieving collective success across the region. “Success does not come by hating others, but it comes by increasing efforts, and then God will bless you,” Diamond wrote. “East Africa is a country that lives by love and cooperation.”
Diamond also highlighted his own efforts to bridge the gap between artists from different countries within the region. He pointed out how he had collaborated with Kenyan artists and supported their music through cross-border projects, such as his work with Bien of the Sauti Soul group. “You are one of the good examples in this regard,” Diamond said, referring to Omondi’s previous collaborations and performances in Tanzania. “You came to Tanzania more than 10 times to do shows as the Headliner and you were always received with love.”
The Bigger Picture: Issues of Identity, Representation, and Support
The debate at the Furaha City Festival touched on deeper issues within the East African music industry. The divide between how artists from different countries are treated not only impacts their performances and access to opportunities but also reflects broader issues of representation and economic support. For Kenyan artists, these disparities often feel like systemic obstacles that hinder their growth and recognition on par with their regional counterparts.
Diamond’s response was aimed at encouraging unity and love among artists, suggesting that East Africa’s strength lies in its collective effort and mutual support. “We need to inspire love and cooperation and put effort,” he said. “Instead of training artists to hate us because it is not the solution to success.”
Conclusion: A Call for Change in the East African Entertainment Landscape
The incident at the Furaha City Festival has sparked a much-needed conversation about the treatment of artists in East Africa. While Diamond Platnumz’s comments sought to foster an environment of collaboration, Omondi’s response underscored the ongoing frustrations among Kenyan artists who feel marginalized. The conflict is symptomatic of a larger issue the need for a more equitable and inclusive approach to supporting and promoting East African talent across the region.
For the East African entertainment industry to thrive, there must be a shift from competitive divides to mutual support and cooperation. The call for equal treatment and opportunity for all artists, regardless of nationality, needs to be heeded. It’s a message that resonates not just in the music industry but across other sectors within the creative economy, reminding everyone that true success comes from lifting each other up, not tearing each other down.
