The applause inside packed Kasarani arena during the Africa Forward Le Concert was loud, colourful and celebratory. But outside the venue, a very different reaction was unfolding online.
Sections of Kenyans accused some creatives of being ‘sellouts’ where they present themselves as voices of ordinary wananchi while maintaining close proximity to political and elite power.
At the centre of the storm was Bien-Aimé Baraza, whose appearance at the show and interactions with French President Emmanuel Macron ignited one of the fiercest conversations Kenya’s entertainment industry has faced in recent months.
The controversy also pulled in content creator and chef Dennis Ombachi aka The Roaming Chef.
Bien drew attention not only for attending summit-linked events but also for performing in an outfit many online users compared to the signature look of former Zairean ruler Mobutu Sese Seko.
One X user, PeratoN_Senior, argued that Bien’s styling could not be dismissed as accidental, referencing Mobutu’s historical ties with Belgium and France.
The criticism intensified because Bien had previously earned praise from Kenyans for appearing politically conscious, especially after clips circulated of him encouraging crowds to chant anti-government slogans “Ruto Must Go” during some of his international performances.
“It’s the contradiction people are reacting to,” says entertainment commentator Kevin Ochieng.
“Audiences today expect consistency from celebrities. If an artiste builds an image around social awareness, every public appearance becomes politically interpreted,” he adds.
The debate quickly evolved beyond a single performance.
Singer-songwriter Nviiri the Storyteller in a series of posts, argued that African artistes risk confusing access to power with meaningful impact.
“Artistes are not state ornaments. We are not PR machinery. We are not puppets,” Nviiri said, insisting that art should remain a form of “memory, resistance and conscience” rather than decoration for governments with histories tied to exploitation and extraction.
He also questioned attempts to frame the summit as Pan-African while involving foreign powers many young Africans increasingly associate with neo-colonial influence.
Responding to criticism, Bien defended his decision, saying engagement with world leaders did not compromise his identity or beliefs.
“I can sit at a table with global leaders and still remain fully African, fully critical, and fully myself. Presence is not submission,” he said.
His wife, Chiki Kuruka, also came to his defence, arguing that African creatives should not be condemned for entering influential spaces.
“You cannot ask African artistes to take Africa to the world, then criticise them for entering the rooms where the world is shaped,” she said.
“It is the responsibility of politicians to fight for fair policy, it is the responsibility of artists to carry our stories across borders,” she added.
Media personality Claudia, who was also among the hosts of the concert, weighed in on Chiki’s comments by acknowledging that she was correct. Little did she know she too would be followed by a barrage of stray jabs.
But those remarks did little to calm critics who felt some creatives were avoiding deeper political accountability.
X user Douglas Muchiri asked: “Do we stop listening to his songs, unfollow Ombachi? What about the Maasais who danced and the service providers? Where do we draw the line between searching for unga for the day and collaborating with imperialists?”
Political commentator Francis Gaitho went further, alleging that some entertainers had gradually become absorbed into political messaging machinery.
His lengthy social media thread revisited Sauti Sol’s past collaboration on the song Tujiangalie, claiming it showed attempts by political leaders to redirect accountability narratives towards ordinary citizens.
The comments reignited older debates around the relationship between Kenyan entertainers and political power.
Over the years, celebrities have faced scrutiny over state performances, political endorsements or government partnerships.
Musicians who performed during previous administrations, influencers who accepted state appointments and celebrities who publicly associated with politicians have repeatedly faced criticism from audiences who increasingly expect public figures to take moral and political positions.
Podcaster and YouTuber Mwafreeka criticised what he described as selective outrage, arguing that creatives should not be burdened with responsibilities meant for political systems.
“Bien and Ombachi do not influence France foreign policy,” he wrote. “Boycotting one dinner cannot change France foreign policy.”
He also argued that many Kenyan problems are systemic rather than tied to individual personalities.
Musician KRG the Don similarly defended Bien, dismissing parts of the backlash as envy and insisting that “kazi ni kazi”.
“Bien is just spreading his wings with art,” he argued, adding that performing for leaders does not automatically turn an artiste into a political actor.
Still, beneath the online arguments lies a deeper national conversation about authenticity, celebrity influence and trust.
