Get Guardian on GoogleKenyan singer-songwriter Bensoul has spent years crooning his sound in soul, reggae and the deeply textured sonics of East African music.
From learning instruments in church to joining the Sauti Sol family, his journey has been marked by curiosity, experimentation and a growing ambition to introduce Kenyan music to wider audiences.
In this chat with Guardian Music, the multi-instrumentalist reflects on his musical beginnings, the influence of Kenyan heritage on contemporary sounds, his creative process and his vision for the future.
How did you come up with the name Bensoul?
The name Bensoul came from my music teacher in high school. She used to tell me that I sang with so much soul. Since my name is Benson, she branded me Bensoul.
How did your musical journey begin?
I started singing in primary school, but most of my early musical experiences were in church. I used to play instruments and lead the choir. I play electric, acoustic and bass guitars, drums, piano, a bit of violin, and lately I’ve been learning another instrument.
I come from a very humble background. My mother couldn’t afford a music teacher, so I learnt through YouTube and by observing other musicians playing in church on Sundays.
How did you transition from church music into the mainstream industry?
It was a ripple effect of so many things. I came to Nairobi to study civil engineering and met a band called Hatha Band. I became their bass player and music director. Through the band, I went to Sauti Academy, where I met people who introduced me to Sauti Sol. Eventually, I got signed to Sauti Sol, and that’s when I decided to pursue my own music. Initially, I was doing spiritual music, but now I’m experimenting with everything.
How would you describe your growth as an artist over the years?
I consider myself a student of the world. I’ve been learning from different people and experiences, and you can hear that growth in the sound, the quality of the music, the lyrics and the stories we’re telling. The music has improved and become something more global. I’ve also built an incredible fan base of people who genuinely connect with what I do.
How important is preserving Kenya’s indigenous musical heritage in contemporary music?
African music has always been built on groove. It’s something our ancestors resonated with, and it continues to connect us across the continent. In Kenya, we’ve retained many traditional musical styles in contemporary music. You can hear influences of Chakacha and samples of older music even in Gengetone. Our heritage remains an important part of the music we’re making today.
Tell us about your new album and the inspiration behind it.
The album is called Flight 420. It’s about returning to my roots, exploring Afro-dancehall and Afro-reggae. The project revolves around life, happiness and passion.
The colours represent these themes: green represents life, yellow represents happiness, and red represents passion. There are songs about affirmations, feeling good about yourself, love and everything in between.
What does your typical songwriting process look like?
I have different creative processes, but most times we start writing with just a guitar or piano.
We usually begin with a theme and explore the different perspectives and angles we can approach it from. Then we record, refine, mix and master the song.
Sometimes, songs begin with beats from producers or even simple conversations with friends.
Which musicians would you love to collaborate with?
I’d love to work with Burna Boy, Johnny Drille from Nigeria, Stonebwoy from Ghana, Chronixx from Jamaica and Anderson .Paak. Those are some of my favourite musicians.
What does Bensoul enjoy doing outside music?
I love cars, so I enjoy taking long drives. Sometimes I go to the national park, even when I’m not interested in seeing animals. I just go there to clear my mind. I am somewhere enjoying some pot and watching beautiful sunsets.
What’s your ultimate vision for Bensoul?
The vision is to take Kenyan music global and take as many people as I can with me.
