What began in the early 2000s as a bold form of youth expression has evolved into a multi-billion-shilling mobile entertainment industry.
Two decades ago, Nairobi's public transport culture transformed as ordinary matatus started blasting local hip-hop and dancehall hits from groups such as Necessary Noize and Kleptomaniax.
Music videos played on compact DVD screens mounted inside the vehicles, providing entertainment for passengers throughout their journeys.
Throwing back to 2007, a moment in time captured in an issue of Pulse magazine, this largely unregulated era saw loud secular music become an aggressive marketing tool as matatu crews competed to attract young commuters to the trendiest rides.
“Unafikiria hii matatu ingekuwa inafika Westi kama haikua na DVD?” conductor Vinnie told reporter Naliaka Nafula at the time.
Another driver, Gen Biego, echoed the sentiment: “Kukuwa na music kwa gari yangu inanifurahisha sana mimi mwenyewe. Customer wanapenda pia.”
In the early years, most of the videos shown in matatus were sourced from international music channels such as MTV and BET.
However, local DJs soon capitalised on the trend, distributing promotional music video compilations on DVDs. Popular entertainment outfits behind these releases included Blackstar, Code Red and Homeboyz H2O.
“You know how Nairobi is, you give one guy a copy and find 5,000 copies of your mix making rounds,” Porgie of Code Red Entertainment said at the time.
The free-for-all atmosphere eventually prompted government intervention through the introduction of the famous Michuki Rules. Implemented in 2003 by former Transport Minister John Michuki, the regulations sought to restore order and safety in Kenya's chaotic matatu sector.
The crackdown temporarily silenced the music and stripped many vehicles of their graffiti and flashy modifications.
By 2026, however, the culture has re-emerged on a much larger commercial scale through the rise of the "Nganya", heavily customised matatus that function as rolling entertainment hubs.
Today's vehicles feature powerful sound systems, massive subwoofers, high-definition LED screens and elaborate lighting displays, often showcasing the latest Kenyan drill, Gengetone and Afrobeats music.
Yet this high-tech culture remains locked in a constant struggle with regulators. The National Transport and Safety Authority (NTSA) and the courts have repeatedly cracked down on operators over concerns about excessive noise pollution and passenger comfort.
The debate has sharply divided public opinion in Nairobi. Supporters, particularly young people and international visitors, view Nganya culture as a unique creative movement and a distinctive Kenyan brand that showcases local artistic talent.
Critics, however, argue that the blaring music imposes unnecessary discomfort on commuters and disproportionately affects vulnerable passengers, including older people and parents travelling with young children.
What began as a simple youth-driven trend has grown into a powerful economic and cultural force. Its future, however, may depend on whether operators, regulators and commuters can find a balance between vibrant street entertainment and public comfort.