The legendary Kenyan band Les Wanyika has accused rapper Octopizzo of sampling their iconic tracks without proper authorisation in an interview with this writer, sparking discussions about intellectual property rights in the Kenyan music scene. This controversy comes at a time when Les Wanyika is preparing for their highly anticipated performance at SolFest, an event that celebrates Kenyan musical talent across generations.
Formed in 1978, Les Wanyika is considered one of the most influential bands in East Africa. Known for their smooth Swahili melodies and timeless lyrics, they have captivated audiences for over four decades. Their songs, such as Barua, Sina Makosa, and Ufukara are celebrated classics that form part the country’s cultural heritage.
“We’ve seen so many changes in the industry since we started,” Said one band member in an interview with The Sauce. “From analog to digital, from vinyl to streaming platforms, it’s been a journey. What hasn’t changed is the importance of respecting artists’ work.”
Les Wanyika’s sound has influenced numerous artists, bridging the gap between generations. The band continues to perform actively, showcasing their ability to remain relevant even in the fast-evolving music industry as they strive to coexist with modern music trends.
The allegations against Octopizzo, one of Kenya’s most prominent hip-hop artists, stem from the the band claiming that Octopizzo sampled their songs Barua and Ufukara in his tracks Wamatumbe and Zambe, respectively, without seeking permission or giving proper credit.
One band member explained, “We were not consulted or informed about the use of our work. It was brought to our attention by fans who recognized our sound. While it’s great that our music continues to inspire, the lack of acknowledgment feels disrespectful.”
Les Wanyika’s frustration is compounded by the fact that sampling their music without permission bypasses the legal and ethical processes that protect artists. “It’s not just about getting credit—it’s about ensuring fair compensation and respecting the effort we’ve put into our art,” another member noted.
“This isn’t just about Les Wanyika. It’s about protecting the rights of all Kenyan artists, past and present. If we don’t address this, what message are we sending to the next generation of musicians?” quipped the one of the iconic band members.
The band hinted that they are willing to explore legal avenues if necessary. “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 it becomes unavoidable.”
The issue of sampling is not new in the music industry. Globally, artists often sample classic tracks to pay homage, but this practice requires clearances from copyright holders. In Kenya, where copyright enforcement is still developing, such cases highlight the gaps in the system.
Les Wanyika acknowledged that sampling can introduce younger audiences to classic tracks, but they insist that it must be done ethically. “Sampling can be a beautiful thing. It connects the past with the present. But it must be done the right way—with respect and proper agreements,” one band member stated.
“Our music is more than entertainment—it’s a reflection of our culture and identity,” said one band member. “If we allow it to be used without accountability, we risk losing its value.”
The band hopes that their stance will inspire other veteran artists to assert their rights and encourage younger musicians to approach sampling with greater responsibility.
Les Wanyika has expressed a willingness to resolve the matter amicably, urging Octopizzo and his management to engage in 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.
