Ywaya Tajiri and Israel Onyach have been around the music scene prominently since 2019 when they went as Kaskazini. After a brief stint with Sol Generation, the duo decided to split with their other member Chris Clave to form the group we now know as Watendawili. Their biggest single during their time with the Sauti Sol led label was ‘Extravaganza’ which was a song to mostly market the label’s artists. While their peers like Bensoul and Nviiri The Storyteller thrived under the label, Kaskazini seemed to falter only releasing one single under their name, ‘If I Had Your Number.’ When the world went into lockdown in March of 2020, Kaskazini’s future was now more uncertain with Onyach and Ywaya parting ways with Clave to pursue their own path. This decision at the time seemed like career suicide as Kaskazini had a growing audience as well as irrefutable social capital within the music industry. Since their debut single in August 2020, Watendawili have been on a mission to distinguish themselves from the rest of the crowd. Their grind and hard work culminated in their debut album ‘En Route’.

The biggest single before Watendawili dropped their album was ‘Cham Thum’, a Luo infused party anthem encouraging a lover to dance. If the reception of that song was anything to go by, Watendawili should have realised that they struck gold. ‘Cham Thum’ offered a glimpse of a Nairobi duo enthralled by their culture from back home, a phenomenon that would be evident in their album almost a year later. The meteoric rise of the song ‘Cham Thum’ saw Watendawili enter 2024 as a formidable force in the music industry. Not only did ‘Cham Thum’ open mainstream doors for the two Nairobi natives, it also gave them the grace and clout that the group had enjoyed while under Sol Generation. A collaboration with boy band Matata in April of 2024 sealed what many had suspected, Ywaya and Onyach were a movement that could not be wished away.

‘En Route’ dropped on 8th November 2024 to much acclaim. The runaway single from the album, ‘Beba’ featured the talents of the incredible Xenia Mannaseh who was also on her own journey to sing in more Swahili. ‘Beba’ would be carried by an uptempo beat reminiscent of South African Afro-House and Amapiano from the mid 2010s. This guitar driven track produced by Run offered a glimpse into the commercial leaning of a once conscious group. ‘Hadi Kesho’, another hit from the album is a quintessential Kenyan R&B track about the party laced life of Nairobi. Once again driven by a soulful guitar track and produced by Bassman, ‘Hadi Kesho’ showcased the group’s writing prowess and their ability to contend with everyday life issues in a subtle but artistic manner. Ywaya opens the track with ‘Mungu nisamehe, Ilikuwa niingie church kesho, Nikajipata kwa form ya kamnyweso, Saa hii bash imegeuka jam session.’ This very subtle interplay of the temptations of the party life interlaced with the contemplation of other life responsibilities, is more of a social commentary than it is an outright party song. As much as Watendawili may have shifted from their musical roots of conscious music, they have made up for it by creating songs that offer insight into the Kenyan mind that engages in all of these socially frowned upon activities.

With an opening track like ‘Safari’ featuring Shad Mziki, Watendawili were able to set the mood for what would be a Kenyan R&B album with influences from all over the world. With Watendawili, it seems that the safari they are taking is one to explore and learn about their Luo culture. Not only does this signal growth in their musical and artistic journeys, it also addresses a deep desire among a Kenyan generation to be in touch with their roots. Songs like ‘Aus Nyamombasa’, ‘Sianda’ and ‘Nyamama’ are all marked with heavy Luo lyrics that dispel the notion that vernacular music cannot be appreciated on a national level. Coster Ojwang’s appearance on ‘I Love My Life’ marks this embrace of culture in a wishful and modern way intertwinning the intricacies of Luo poetry with a booming Afro track produced by Bassman.

The production on ‘En Route’ is light leaning more to a stripped back acoustic sound as opposed to the heavy handed maximalist production that we have grown accustomed to in the 21st century. This approach to production allows the songwriting of Tajiri and the vocal prowess of Onyach to shine through, removing any destruction from what the message of the music is. Tracks like ‘Maovu’ and ‘Nyamama’ provide this canvas for the duo to showcase their lyrical abilities once again interlacing Luo and Sheng into the lyrics to create a dynamic combination for what would have otherwise been a rinse and repeat formula for the album.

Watendawili have a way of bringing out the best in each of their features. Femi One shines through on ‘Ayaya’ with a solid 16 on another of Watendawili’s party anthems. Frequent collaborator Okello Max graces ‘Nyamama’ with a verse about an estranged lover. Fellow Sol Generation alumnus Bensoul appears on dancehall driven track ‘International’ in a display of the experience and skills acquired during their time together on the label. Jay Strings appears on ‘Sianda’ an upbeat Ohangla inspired track appreciating the beauty of a lass. The production of Wuod Omollo, Jay Strings, Bassman, Koby Worldwide, Shifa Beatz and Run provide a cohesive 40 minute project that does not feel stretched or forced in any way. The mixing and mastering of Trevor Magak who continues to make a mark on the Kenyan music industry, makes for a smooth listening experience with the voices of Tajiri and Onyach cutting through the mix without the muddiness and lack of clarity that was once synonymous with Kenya’s productions.

The influence of the world is felt throughout this album. In an album aimed at reconnecting with their roots, Watendawili would have been better placed going for a more organic sound incorporating more live production into their songs as opposed to Amapiano and R&B elements sprinkled throughout the album. However, in an attempt to remain relevant and acquiesce to the Kenyan music industry, this incorporation of what’s trending seems like a fair trade-off that pays off heavily in the success of the album. For what it’s worth, the album is not only cohesive but also quite consumable. While not running the risk of adding fillers in order to inflate streaming numbers, Watendawili maintain artistic integrity playing to their strengths while also trying something new in both genre and song writing. For a debut, ‘En Route’ is nothing short of stellar with an appreciation for the finer things in life while also addressing complex social issues.

With the rest of their musical lives ahead of them, only time will tell what the duo of Ywaya Tajiri and Israel Onyach has in store for us. In the meantime, we journey with them back to culture, roots and a true appreciation for Kenyan music.