In his solo debut, “WADA (The Healing of a Nation),” Sewersydaa, the wittiest and most unassuming member of Wakadinali, fearlessly plunges into uncharted waters.

With 19 tracks in just one hour and five minutes, the album unfolds as more than a musical endeavor; it resonates as a socio-political lecture, an exploration of sound and substance.

For those who saw the beginning, Sewersydaa’s absence in much of “Ndani Ya Cockpit 1” (undoubtedly contributing behind the scenes) has led to an oversight.

Outsiders often mistakenly attribute Wakadinali’s ascent solely to Domani Munga and Scar Mkadinali. However, Sewersydaa’s strategic involvement behind the curtains has subtly shaped the group’s trajectory.

Scar’s Kovu Challenge etched him indelibly into fans’ minds, with Munga as the only Kenyan rapper featured in over four hit albums. Meanwhile, Sewersydaa, with a low-key demeanor, remains steadfast and proves his resilience with a nuanced understanding of his craft.

Wakadinali’s critically acclaimed album, Victims of Madness,” showcased Sewersydaa’s prowess.

On tracks like “Extra Pressure” and “Kim Jong Un” his storytelling finesse and clever composure solidified his status within the group and positioned him as an equal among equals.

Within WADA (The Healing of a Nation), Sewersydaa maintains his signature style and tempo, seamlessly weaving through Rong Rende’s musical themes.

What sets Sewersydaa apart is his daring embrace of moments where he doesn’t shy away from rapping off-beat. It showcases a level of unapologetic artistic individuality that not everyone in the game can execute.

WADA (The Healing of a Nation) Track Listing

The album takes off with 2nd Wave,” a homage to weed and a nod to Mau Mau, with a reverent mention of its leader, Dedan Kimathi.

While the line, “Alfred Mutua alikuliwa pia na Julius,” may catch the listener’s ear, the pivotal moment arrives with, “ako wapi Dufla ama alikula akasepa.” It’s a stark reminder of Dufla’s once prominent run at Grandpa Records. His rise dwindled after the initial surge, leaving us questioning his whereabouts in the industry’s ever-changing landscape.

Rumours

The next track, Rumours sees Sewersydaa embarking on another storytelling expedition, navigating a slow beat with finesse.

He takes a moment to caution those ensnared by the allure of ‘do-it-for-the-gram’ lifestyles. He raps, “Kila mtu anapiga show live sai IG, suu whoop tuko Nairobi izo pelekea YG.”

While I appreciate YG’s “Suu Whoop,” Sewer urges  Kenyans to ground themselves in reality and authenticity.

Amid reflections on the railway line between Dandora and Mowlem, he directs a crucial question to Francis Atwoli, questioning why rappers are overlooked as a legitimate working group in Kenya.

Extremist

Extremist stands as the zenith of Sewersydaa’s socio-political storytelling.

The beat, shrouded in darkness akin to Biggie Smalls’ “Suicidal Thoughts,” sets the stage for an atmosphere of suspense.

Sewersydaa paints a vivid picture of a Kenyan youth armed with academic credentials, brimming with ideas that could transmute into gold with the right funding.

When an affluent uncle denies him a loan, the protagonist seeks solace in the mosque, ultimately finding himself initiated into an extremist group in Somalia.

The narrative unfolds against the backdrop of a society where governmental support for its people is conspicuously absent. “Extremist” emerges as a contender for one of the standout tracks on this album.

Rong Song

The sleeper track Rong Song begins with Sewersydaa crafting an open letter to a woman in a hallucination episode.

Yet beneath the surface, he emphasizes the significance of aligning with one’s purpose, declaring, “cheki, me hucome home nikulonely, nawasha mic najichocha kufuata calling.”

The AFRVKA-produced beat is a masterstroke, seamlessly intertwining with the song’s essence. Sewersydaa’s admission, “tangu zamani sijai vote, na hata staki,” initially invokes disappointment, but as he unveils his rationale, a sense of contempt for the government’s workings surfaces.

His rap, ”utakula na sisi ama risasi” illustrates that even the best leaders find themselves entangled in the underworld or facing demise.

Does voting still hold relevance in Kenya? Sewersydaa’s sentiments echo a growing skepticism. I concur, man.

Hatutaki Uso

Hatutaki Uso is a production from HR The Messenger featuring Katapillar.

This isn’t your typical dance album; it takes a dedicated fan to navigate. Turning our attention to Katapillar, akin to his mentor Khaligrapgh Jones, his flow stands unmatched in the game.

However, his punchlines are somewhat weak, prompting listeners to instinctively rewind Seewersydaa’s verse.

In a bold move, Sewersydaa takes aim at Willis Raburu, the former host of Citizen TV’s 10 Over 10, an imposter fixated on pushing the mediocrity that was Gengetone instead of promoting more substantial music.

Those who stuck with the authentic sounds, dismissed as “weed smokers” by Willis, now find vindication. The question looms – where is Gengetone now?

Amidst these reflections, the track’s standout moment arrives with the evocative line, “camp yetu iko na mulla kidogo ata tufikirie kurecruit Karun.”

Freestyle

The usual suspects, HR The Messenger and Ares66 unite to produce the first-ever pure drill beat on this album in the track Freestyle.”

The opening lines demonstrate that no other rapper operates at Sewer’s political altitude, perhaps except Kitu Sewer. His incisive rap, “wizi imekua legal na bado wanajiona Ronald Reagan ati unaeza macho cigar lakini usimarwe na ki ingwa,” lays bare the hypocrisy entrenched in the highest echelons of power.

It unveils a stark contradiction where scandals go unpunished, yet the government’s zealous crackdown on weed fails to align with reason.

This mirrors the paradoxical nature of the war on drugs declared by Reagan, disproportionately impacting the African American community in the United States.

Wada

The next track Wada,” produced by Loui Da Vil,  emerges as a formidable contender for the album’s crown – not solely due to Sewer, but thanks to the relatively unknown Pepela.

Pepela’s contribution transforms the song, evoking vibes reminiscent of a collaboration between Nas and Damien Marley.

It stands out as one of the boldest weed anthems, with Pepela  asserting, “ 1 Link  1 Order ambia gava ilegalize WADA.”

Sewersydaa throws a subtle jab at the government with, “KPLC iko under wizara ya giza.” Agree? 

Seti/Burn it and No

The album takes a noticeable dip with Seti/ Burn it.” It fails to introduce any fresh perspective to the overarching WADA (The Healing of a Nation) concept.

However, revival transpires with NO,” injecting life back into the narrative illustrating the twisted contours of Kenyan society.

Sewersydaa pays homage to the roots, acknowledging Wenyeji with the line, “back then tukianzanga hii mziki ilikua tu DC na Sisi.”

He doesn’t shy away from exposing the harsh reality of Kenya Police extortion. He cautions, “ukiwa msoto avoid tu polisi,” emphasizing the imperative to steer clear of the police when financially strained, lest they concoct false charges against you.

Eye Contact

On Eye Contact,” Sewersydaa reunites with his Wakadinali brethren, Domani Munga and Scar Mkadinali.

The moment Domani Munga assumes hook duties, the certainty of a hit track becomes inevitable.

Sewer interjects with an observation, contending that the government’s prohibition of weed stems from the absence of endorsement of Christ. Domani Munga has the standout verse. Scar hits hard.

Riswa 1

If only Kenyan mainstream and gatekeepers dared to broaden their perspectives, Riswa 1 would undeniably be the album’s lead track.

It is the raunchiest Dyana Cods has ever been and I’m quite sure young men j**k off to her lyrics. Beyond the explicit content, the hook carries a pivotal line where Sewersydaa declares, “kwa hii industry ni ka kila mtu amekua seti… Qta C alihit akaenda ocha kumedi.” This is the perennial fate of Kenyan musicians tethered to radio play.

The moment favor wanes, their musical journey takes an irreversible plunge. The track references, Qta C and Alahola’s hit song, Narudi Ocha.”

Rwadisha

In the collaborative effort Rwadisha,” Sir Bwoy, Sudough Doss, and Virusi Mbaya deliver a compelling track.

Despite Virusi’s lack of due recognition in the Kenyan hip-hop scene, rappers, including Scar Mkadinali, acknowledge him as a source of inspiration.

Sudough Doss exudes confidence in his contribution, while Sir Bwoy is yet to make his mark fully.

The violin on the beat elevates the track.

It’s True and Riswa 2

It’s True boasts top-notch production, offering a solid foundation for Sewer to maintain his poetic prowess.

However, the sequel Riswa 2 falls short of its predecessor. The attempt to emulate “Riswa 1” feels forced lacking the charm of its forerunner.

Notable lines include Sewersydaa’s claim, “me n my crew, chenye si hurap ndio chenye si hudo” and Dyana Cods provocatively compares her body count to Hitler’s.

G Pin and Gangster

G Pin  stands among the album’s best, radiating witty vibes throughout.

The AFRVKA-produced beat accompanies the lyrics perfectly. As we anticipate the ultimate Rong Rende compilation tape, this track is sure to secure a prominent spot.

Conversely, Gangster might not claim hit status, but within its verses lie the best line: “huyo naye akadai ass no more juu ati nilismash  nikadoro nilimshow sifanyangi pillow talk unapewa shot na unaenda home.”

Additionally, Sewersydaa provides commentary on the standard weight of a Glock, asserting, “iyo kitu inakuanga nzito yako ni simple kwaivo ni imbo.”

Patrol and Tunduraa

Patrol unequivocally claims the throne as the best song of WADA (The Healing of a Nation) album. The only contender that holds a candle to it is “Kim Jong Un” from the “Victims of Madness” album.

Tundaraa is the typical Sewersydaa political rant. 

Naree

The finale, Naree boasts a star-studded lineup featuring Ajay, Big Yasa, Katapillar, Hassano, Sir Bwoy, Geri Soweto, Sudough Doss, Gunman, and Hitilafu.

It upholds the Wakadinali tradition of concluding albums with a freestyle. 

The result is nothing short of dope. It’s a fitting conclusion to an album that thrives on risk-taking and unmasks the undeniable talents of Sewersydaa to any remaining doubters.

RATING: 6.5 Out of 10

TRACKS TO REWIND:

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