Kenyan comedians Oga Obinna and Dem Wa Facebook have responded strongly to accusations from gospel artist Kevin Bahati, who alleged that their recent hit song “Namposti” was stolen from him. The dispute has ignited a public clash, with both comedians dismissing Bahati’s claims and defending their creative integrity.
The controversy began when Bahati publicly accused Oga Obinna and Dem Wa Facebook of copying his song, leading to a heated exchange. Bahati, known for his gospel music career, expressed his frustration on social media, alleging that the similarities between his song and “Namposti” were too significant to be coincidental.
In response, Dem Wa Facebook vehemently denied the allegations during their weekly show, emphasizing that their song was an original creation. “We put in a lot of work, went somewhere, shot the video, and it’s been trending. Then suddenly, Baha, Diana’s husband, is saying we stole his song,” she remarked. Her comments reflected the duo’s determination to clear their names and assert their artistic credibility.
Oga Obinna, known for his comedic flair, also addressed the issue with a mix of humor and seriousness. In a playful jab, he joked that the only thing he might consider taking from Bahati was his wife, alluding to Bahati’s well-known marriage to Diana Marua. This lighthearted remark was accompanied by a detailed explanation of the creative process behind “Namposti.”
Obinna elaborated on how the song came to be, revealing that its inspiration struck during a road trip. “We were actually on a road trip, listening to a komba mix, and there’s a part where the beat hits. That’s where the inspiration came from. I always record voice notes while driving, and that’s how the concept for ‘Namposti’ evolved,” he shared. This anecdote highlights the organic and spontaneous nature of their creative process, which Obinna believes firmly distinguishes their work from Bahati’s.
Further elaborating on the song’s production, Obinna acknowledged the contributions of several individuals who played crucial roles in bringing “Namposti” to life. He mentioned collaborators such as Goon, DVD Power, and a Tanzanian producer, underscoring the collaborative effort that went into the song’s creation. This collective input, Obinna argues, adds depth to their defense against the theft allegations.
The public dispute has sparked a broader conversation about intellectual property and originality in the Kenyan entertainment industry. While Bahati’s claims have generated considerable attention, Oga Obinna and Dem Wa Facebook’s rebuttals have also brought to light the challenges artists face in protecting their creative work amidst a highly competitive landscape.
The reaction from both sides illustrates the complexities of the entertainment industry, where accusations of plagiarism and intellectual theft are not uncommon. For Bahati, the allegations reflect his concerns over the originality of his music. For Oga Obinna and Dem Wa Facebook, it’s a defense of their hard work and creativity.
As the drama continues to unfold, fans and observers are left to ponder the implications of such disputes on the industry. The clash highlights the need for clear communication and mutual respect among artists, as well as the importance of addressing such issues through proper channels.
In conclusion, the ongoing conflict between Bahati, Oga Obinna, and Dem Wa Facebook serves as a reminder of the creative tensions that can arise in the pursuit of artistic success. As both parties navigate this public feud, the resolution of the dispute will likely shape their future interactions and influence the broader discourse on artistic integrity in Kenya.
