There is a new spark in Nikita Kering’s artistry. The Kenyan singer, who entered the public eye as a child, sounds fierce, edgy and decisive on her latest project, The Lick Back. This fresh flavour to her music gets its groove and message from her recent life experiences. It’s a snapshot of her renewed fuel for life; a quest to reclaim her confidence after grief, personal losses and a hectic fallout with her former major label.
Spawned within a month, the five-tracker spin saw Nikita Kering dive headfirst into a raspier creative flow. She flipped on her rap persona, wrote all her tracks to completion once she started, and explored social commentary seriously in her lyrics – a sizzling twist from her usual romantic expressions.
From heartbreak stories to protest, Nikita Kering documents her new perspectives, frustrations and resolve in the fusion-focused project. For Kering, whose sojourn has been a trail of achievements – from a countrywide breakout at 16, to multiple continental honours at the All Africa Music Awards – this new direction seems marked with promise. With the Lick Back, the 24-year-old singer is evolving from Nairobi’s teen prodigy into East Africa’s charming pop princess.
Catching up with Guardian Music, the young singer opens up on her musical evolution; the making of The Lick Back; the pangs of celebrity life, her Swahili pop ambitions, and her mission to keep shifting the standard of East African music.
Congratulations on The Lick Back. What is the story behind the title?
The Lick Back is about revenge. This whole process has given me a lot of character development. My journey through the music industry, my journey as an artist and my journey as a human being have come with many lessons. There have been more nos than yeses, a lot of rejection and a lot of learning. For a while, I was humble about the process and allowed it to push me around. I eventually realised that you have to push back if you are going to make it. The strongest people make it because they are most likely to overcome their challenges. I came to that realisation towards the end of last year. I had been absorbing all the stress and sadness from everything that happened: the fallout with my major label, grief, losing friends and other experiences. I realised that I was the only person who could bring myself out of it, so I had to grow up.
When did you record the project?
I think I had only completed one song last year. I made most of the songs within one month, around March. I already had music stored from the previous two years, but I felt those songs no longer represented who I am today. My team suggested compiling the music I already had for an EP. I asked them to give me one month and told them I would return with a complete project. I worked on the entire EP and wrote about 99 per cent of it myself. Stylistically and lyrically, there is so much growth. It represents a more mature and bolder version of me. In the past, even when I approached love or rebellion, I was very reserved. I worried about how people would perceive me. This time, I honestly do not care. I realised that I only have one life. The longer I keep trying to fit into a mould, the greater the chance that I will reach 40 and fail to recognise the person I have been because I was not living in my truth.
Did you have any doubts while making it?
One hundred per cent. I did not know whether I was good enough to create a five-song project within one month. I had to be decisive. By the end of every week, I needed to have completed at least one song. I am an overthinker, so I cornered myself by giving the team a release date. We worked backwards from that date, and it forced me to make decisions. At some point, I decided that I would not keep listening repeatedly to the mixes and masters. I would record the music, send it and move forward. I do not think the EP would have been ready without that decision.
How different was the creative process from the way you approached your earlier records?
Whenever I entered a session, I had to finish the song. Previously, I would begin an idea and abandon it once I stopped liking it. That left me with about 100 unfinished ideas. This time, I needed to complete the lyrics, harmonies, background vocals and instrumental before leaving the session. I was also more aggressive lyrically. I played with double entendres and challenged myself to rap. I wanted to try something different, even though I knew some members of my fan base might be upset. Whenever I wrote a bar, I recorded it immediately. I did not give myself room to negotiate. By the tenth day, I could already tell that I was writing better and with more confidence. The improvement was happening in real time.
Which songs came directly from your personal experiences?
“Niwache” reflects a relationship I had at some point. It means, “If you do not want this, or you do not want me, leave me alone.” When I wrote “Ex,” the energy centred on romantic cycles. It explored a relationship where two people repeatedly leave each other and return. I eventually tapped out of that. In my last relationship, I wanted to know whether the person was serious. If you are serious, let us date. If you are not, leave me alone. I think that energy will surprise my listeners because they have never heard me sound like that.
How has being famous in Kenya affected your experiences with love?
I would never want to be with somebody who already knew of me before we met, so I do not have many options. In Kenya, even when you do not recognise my face, you probably know my name. That is a gift, but it makes my pool of options much smaller. A relationship is also not what I want to focus on right now. I have a very big goal with limited time, and I have to concentrate my energy on what I am doing. When I love, I love extremely deeply. I can easily forget myself, stop taking care of myself and neglect my own wants and needs. That is not an option for me at this stage.
Which song came together most spontaneously?
I would say “Give Me My Money.” I was in Malawi, where my dad lives, and had just finished writing “Niwache.” I bailed on a family plan, stayed in the house and became bored. The idea for “Give Me My Money” suddenly came to me. I sent it to my producer and told him, “I am coming back to Nairobi tomorrow. From the flight, I will drop my bags and come straight to the studio.” When I arrived at the studio, I had another idea. He said, “Forget that idea. I have something really cool for ‘Give Me My Money.’” He played it, and it was exactly what I was looking for. Initially, the song was supposed to address my experiences in the industry with promoters, labels and everybody who has my money. As I began telling my story, I realised that it sounded similar to the experiences of many Kenyans and people around the world.
You entered the spotlight at a very young age. How was your talent discovered?
I did not discover it. My mother discovered it before I was even conscious or aware. I was about three or four years old and sang a lot, especially in the shower. One day, somebody heard me singing and told my mother, “Oh my goodness, your child sings really well.” Like every parent, she naturally wanted to believe her child was the best, so she was still sceptical about whether I was genuinely good. We came from a very conservative background. We did not have musicians or artists in the family. Everybody was a scientist and all that, so she had to be careful about approaching something like music. After that person spoke to her, she began taking it more seriously. My teachers also told her that I sang very well.
When I was about eight, I performed during a school concert. I sang in my mother tongue, and everybody was shocked. They were thinking, “This is a Nairobi child. What could she possibly know about her mother tongue?” The performance became a huge thing. The media recognised me, and everything grew from there. I have been in the limelight since I was about nine years old.
Did you have any other ambitions before deciding to pursue music professionally?
I wanted to become a pilot who sang to the passengers from the cabin. That was genuinely my dream. Then I got to high school and realised that I could not do mathematics, so that dream died. I decided that I wanted to become a singer and a superstar.
Who were some of your major musical influences while growing up?
I listened to a lot of Disney music. I was a Disney child; I grew up on everything Disney, and you can hear some of that influence in my earlier music. I was also heavily influenced by Rihanna, Ciara, Beyoncé and Shakira – the standard superstars. When you are growing up somewhere in Kenya, you usually have access to the most visible global stars. You do not always get access to niche artists, so those were the musicians I knew.
How do you think about language while pursuing an international audience?
About 95 per cent of my songs, possibly more, are in English. That has made crossing over easier. I love my culture deeply, but I also understand that connecting with people becomes harder when you sing in a language they do not understand. I am currently trying to find a balance. Nigerian Pidgin has crossed over easily because people outside Nigeria can still understand parts of it. As a Kenyan, I have probably sung a lot of Pidgin throughout my life because I grew up listening to Nigerian music.
I am trying to figure out what the Kenyan version of that could be. What is the right balance between English and Kiswahili?
I think it is only a matter of time. Nigeria had its moment from the early 2000s into the 2010s. South Africa has experienced a major moment during the 2020s. East Africa could be next. East African artists have not received the same level of international exposure, but I think that will begin to change soon.
What needs to happen for East African music to receive greater attention?
We need to figure out how to make our sound more accessible to somebody who has no idea what we are saying. That applies to Western audiences and to the rest of Africa. We need to bridge that gap. Look at an artist like Tyla. Her music was easier for people to understand. Many factors contributed to her success, but Western pop has influenced Africa so deeply that pop music has become familiar to African audiences. Her sound travelled easily because the translation was clear. East Africa has to find a useful balance. Kiswahili is beautiful. It simply needs that extra bougie touch.
Are there any artists outside Kenya that you would like to work with?
I would love to work with Mike Kayihura from Rwanda. I would also love to work with Joshua Baraka from Uganda; we were recently in the studio together. I would love to work with SZA and Dave as well. Those are two of my dream collaborations.
What does Nikita Kering’ enjoy doing when she is away from music?
I love spending time with my friends. I have a small circle of about three friends, and I love them deeply. I also love my family. I love art and drawing. I love cooking, especially cooking for the people I care about. Whenever I get the chance, I go to the gun range. My favourite movie as a teenager was John Wick, so you can imagine. I know that can sound controversial, so I should clarify that I only mean shooting at a gun range or training facility. I genuinely enjoy it.
What does your middle name, Chepchumba, mean?
It refers to being born around white people. I was the first Black person to be born in one of the biggest hospitals in Karen, so it was a big deal to be born in that environment. I think it happened by chance. I do not think it was something my parents could ordinarily have paid for. The name essentially reflects being born in an unfamiliar place surrounded by white people.
What does the next era of Nikita Kering’ sound like?
Everything is experimental until it works. I am still trying to find the right balance because I want to create something like Swahili pop. Who really knows Swahili pop? It is an area that has not been fully explored. Pop music has influenced my life deeply, and I am certain that I can execute it. I have also been exposed to a lot of Kenyan and Tanzanian Kiswahili music, so I feel equipped to build that kind of pop sound.
Lastly, how would you describe yourself in one word?
A panda. I am able to disconnect from whatever is happening around me and simply live my life. I could wake up and do almost anything, and I would probably be fine. Pandas sometimes look as though they do not even know what they are doing. I think I am like that sometimes.
