In the world of music, collaborations often generate excitement, but they can just as quickly turn controversial. Tanzanian musician Phina recently found herself at the center of a heated debate after announcing her collaboration with Kenyan singer Willy Paul. The reaction from her fans was swift and intense, displaying the deep-seated rivalries that sometimes exist between the two nations’ music scenes. Despite the backlash, the song is out now, and it's already making waves across platforms like YouTube, skyrocketing to trending status in Kenya.
The highly anticipated release arrived with the unveiling of the song “Inabamba,” featuring Willy Paul and Phina. Produced under Willy Paul's Saldido International management and directed by Nezzoh Montana, the song dives into the themes of love and connection, setting the stage with a vibrant red theme that beautifully depicts romance. Lyrics like "mapenzi yetu ndo inabamba, hii ndo inabamba" emphasize the joy and significance of love, presenting a positive narrative in a music scene.
Phina kicks off the song with her unique vocals, bringing a heartfelt perspective to the opening verse, expressing the myriad emotions that love invokes within her. Willy Paul follows after the catchy chorus, delivering his own blend of charisma and rhythm with a verse that seamlessly complements Phina’s contribution. The overall production features a simple yet striking visual aesthetic, with colors ranging from white to green and prominently showcasing the unmistakable theme of love through red.
Their chemistry shines brightly throughout the track, and it’s evident that both artists put a lot of thought into their collaboration. The song has been dubbed the "post-Valentines effect," suggesting that even after the love-themed holiday, the sentiments associated with love remain fresh and in vogue. The affectionate duet has captivated many music lovers, and despite its romantic tone, the storm brewing in the background cannot be overlooked.
While many appreciate this artistic union, the shadows of past controversies cast a long one over Willy Paul's image among Tanzanian audiences. Two prominent incidents from 2024 continue to haunt his reputation. The first involved a physical confrontation with Diamond Platnumz’s crew during an event, which erupted into chaos as both artists argued over stage time. The altercation left Diamond frustrated enough to abandon his performance, while Willy Paul later dismissed his collaborative project with Tanzanian artist Rayvanny as “trash” during the same event, inciting outrage among Tanzanian fans.
The repercussions of that fateful event have lingered, and when Phina chose to collaborate with Willy Paul, many Tanzanian fans were quick to voice their disapproval. On social media, the backlash was visible, with comments lined with contempt and disbelief. Many fans expressed their anger, suggesting that Phina’s decision to work with Willy Paul was a betrayal of the Tanzanian music industry, which they feel he disrespected during the aforementioned incidents.
The comments from Tanzanian users highlight this ongoing tension:
agape_clasic: "Hatumtaki na uo wimbo hatuta view." (We don’t want him, and we won’t view your song.)
nyamachoma_194: “Hatumtaki Huyu, Si alionyesha Dharau Kwa Diamond Platinumz ajue sisi watanzania hatutaki Ujinga Hatutaki Collabo na Huyuu.” (We don’t want him. Didn’t he show disrespect to Diamond? Let him know we don’t want this nonsense. We won’t accept a collabo with him.)
herbert_mangi: “Huyu Willy hatumtaki, fanya na Wakenya wote sio huyo.” (We don’t want this Willy. Collaborate with all Kenyans, just not him.)
302gmail.comjuliusrichard: "Wewe tunasema wakenya watengwe unaenda kujipost nao." (We say Kenyans should be excluded; you’re going to promote yourself with him?)
Phina, born Sarah Michael Kitinga, has been carving her path in the music industry since 2018. Her choice to collaborate with Willy Paul, whose full name is Wilson Abubakar Radido, a Kenyan music powerhouse and CEO of Saldido International Entertainment, highlights the ongoing conversation about cross-national collaborations in the East African music scene.
The situation raises an intriguing question: Can artistic collaboration transcend personal grievances? Fans of both artists are divided, and while some celebrate the song for its lyrical beauty and melodic charm, many remain distant, tied to past conflicts that shape their perceptions. Ultimately, the success of “Inabamba” will depend not only on how well it resonates with audiences but also on whether it can bridge gaps or further entrench divisions. Whether fans choose to embrace or reject this duet, one thing is certain: the dialogue surrounding art and rivalry in East African music is far from over.
