Joefes returns with an album that captures the contradictions of urban life, ‘The Art of Gengetone’, which stands as his definitive claim that the genre is far from dead.
Getugi Nyamweya speaks about his career with the calm certainty of someone who has grown into his craft, not rushed into it.
His evolution as an artiste has been shaped instead by persistence, disciplined curiosity and an instinctive feel for the streets that would one day embrace his sound.
Today, ‘Joefes’, a simple flip of his given name, stands as both his artistic identity and the signature behind one of Gengetone’s most consistent voices.
His earliest creative juices started flowing in high school, where he bonded with iPhoolish through drama and music festivals.
The two performed for fun, pushed each other creatively. “We’d rap to girls because the ladies loved us,” he says.
But despite his passion, music was not universally welcomed at home. His mother supported him wholeheartedly; his father, notably, did not.
That tension sharpened his resolve, pushing him to take his pursuit seriously even when resources were scarce.
Pwani University provided the structure and exposure he needed. There, he met producer Mophart, who offered him studio sessions that broadened his skills.
It was during this period that Black Market Records took notice, signing him even before he completed university.
The deal marked a turning point: “They gave me equipment, exposure, rent, everything,” he says. It was a foundation that allowed him to experiment, learn and emerge with a clearer artistic identity.
His first mixtape, Metamorphosis, was an experiment. With access to a studio for the first time, Joefes recorded without pressure or thematic direction.
“Metamorphosis was an experiment to me. I had access to the studio, so I was just having some fun making the album. There’s no inspiration behind it,” he says.
He released his debut video Ebibengi, but financial constraints slowed him down.
He saved pocket money for months at a time just to record a track or shoot a video during the long holidays. Those years of small, steady steps created the discipline he relies on today.
Now, with experience, Joefes says he has fully mastered his sound. He understands how to write, how to collaborate and what best expresses the world he sees around him.
And that world, Nairobi’s restless, unforgiving, endlessly creative ecosystem, forms the backbone of his new album, The Art of Gengetone.
The album is more than a project; it is his organised response to a long-standing argument. “Gengetone is the voice of the street,” he says. “You can’t kill it.”
His decision to structure the 22-track album into two disks reflects the dual nature of his identity.
Disk 1 channels his alter ego, Mr Nun; Disk 2 captures Joefes as fans know him. The split allows the album to move between grit and groove, commentary and humour, introspection and escapism without losing the raw Gengetone texture that anchors it.
Collaboration is central to the project. The list spans from Teslah, Wamagui, Fathermoh, Exray Taniua, Iphoolish, Kushman, Unspoken Salaton, Vic West, Steph Kapela, Moraa and several others, each selected because of genuine creative chemistry, not convenience.
Some features stem from long-standing friendships; others emerged from introductions. A few artistes explicitly asked to be included.
“As an artiste, I know the type of people I want to feature on my songs, and the people I get along with are my pick.”
Musically, The Art of Gengetone is a broad, layered exploration of a genre often dismissed as one-dimensional.
It incorporates multiple producers and styles to show the full breadth of what Gengetone can be. The tracks range from ambition (Million Dollar Ndoto) to male vulnerability (Kuona Dust), nightlife anthems (Gideon Boots, Dunda), humour-laced storytelling (Gondi, Za Lunch) and straight commentary (Chorea Madawa).
Throughout, he grounds each record in lived experiences. “I speak my truth,” he says. “Everything I sing about is something I’ve seen or lived through.”
Even the more difficult aspects of the project left a mark. He cites Gideon Boots as the toughest song to finalise, noting that the version released is still a demo.
“This is a track I did last year with Vic West. I am still waiting for him to send me the master because the one I released was a demo. So this goes out to Vic West, nitumie master nimekuomba hii master sana,” he says
His personal favourite, however, is Kuona Dust, which he calls his “realest” depiction of men’s struggles.
What emerges from The Art of Gengetone is a portrait of an artiste who understands both his role and his responsibility.