The legendary Kenyan band Les Wanyika has accused rapper Octopizzo of using their iconic tracks without proper authorization, igniting conversations about intellectual property rights in the Kenyan music industry. This controversy unfolds as Les Wanyika gears up for their much-anticipated performance at SolFest, a festival celebrating Kenyan music across generations.
Formed in 1978, Les Wanyika remains one of East Africa’s most influential bands. Their timeless tracks, including “Barua,” “Sina Makosa,” and “Ufukara,” are cornerstones of Kenyan cultural heritage. Over the decades, their smooth Swahili melodies have bridged generations, influencing countless artists while maintaining relevance in a fast-changing industry.
The allegations against Octopizzo, one of Kenya’s top hip-hop artists, center on the band’s claim that he sampled their tracks “Barua” and “Ufukara” in his songs “Wamatumbe” and “Zambe,” respectively, without permission or credit. Band members expressed their frustration during a recent interview, citing fans who brought the unauthorized use to their attention.
“We were not consulted or informed about the use of our work,” one band member said. “While it’s great that our music continues to inspire, the lack of acknowledgment feels disrespectful.”
Copyright and Ethics in Sampling
The controversy has drawn attention to the ethical and legal dimensions of sampling in Kenya’s music industry. Sampling, a practice that allows artists to incorporate elements of classic tracks into new works, is common worldwide. However, it requires proper clearances from copyright holders.
In a landscape where copyright enforcement remains a work in progress, Les Wanyika’s case underscores systemic gaps. “It’s not just about getting credit it’s about ensuring fair compensation and respecting the effort we’ve put into our art,” another band member noted.
Les Wanyika acknowledged that sampling can be a powerful way to connect generations. “Sampling can be a beautiful thing,” they said. “It connects the past with the present. But it must be done the right way with respect and proper agreements.”
Their frustration is not isolated to their situation. The band emphasized that this issue affects all Kenyan artists, from pioneers to newcomers. “If we don’t address this, what message are we sending to the next generation of musicians?” one member asked.
Calls for Resolution and Legal Action
Les Wanyika hinted at the possibility of pursuing legal action if dialogue with Octopizzo fails. “We hope it doesn’t come to that. We would prefer an amicable solution, but we are prepared to defend our rights in court if necessary,” a member explained.
The band has expressed willingness to resolve the matter amicably, urging Octopizzo and his team to engage in constructive dialogue. “This isn’t about creating animosity. It’s about setting a precedent. We hope Octopizzo’s team will reach out so we can find a solution that works for everyone,” they said.
The Bigger Picture
Les Wanyika’s stance highlights the need for stronger intellectual property enforcement in Kenya. Their case serves as a rallying call for veteran artists to assert their rights and for younger musicians to approach sampling responsibly.
“Our music is more than entertainment it’s a reflection of our culture and identity,” said a band member. “If we allow it to be used without accountability, we risk losing its value.”
As Les Wanyika prepares to grace the SolFest stage, their message resonates beyond the music. Their advocacy for ethical practices and fair treatment of artists could set a standard for the industry, ensuring that Kenya’s musical heritage continues to inspire while honoring the creators behind it.
