KABEAUSHÉ

Kabeaushé once described their music as “the complete opposite” of the hardcore, leftfield electronic sounds of their labelmates on Nyege Nyege Tapes. At the time, that was spot on: the Kenyan polymath’s debut album, The Coming of Gaze, was fiercely and deliberately focused on giddy pop energy, the upbeat spirit of old-school party hip hop, clean production, gentleness, bounce, positivity, and pure JOY.

Now, however, the lines have blurred. Their new material for Monkeytown reveals a touch more rawness, weirdness, and rave energy creeping into the mix. This shift isn’t just the influence of their Nyege Nyege peers—it also stems from playing at eclectic festivals worldwide and immersing themselves in radical music of all kinds. Even more so, it reflects the unbridled performance energy of Kabeaushé’s alter ego, »the Shé«.

Anyone who has seen Kabeaushé perform understands this instantly. Their shows transcend performance—they’re celebrations, communal experiences, and parties where the audience’s energy shapes the moment and the Shé emerges. Kabeaushé / the Shé’s presence is angelic yet elemental, channeling the vibrancy of modern pop while tapping into something deep, ancient, and profound. That spirit surges through their latest work, HOLD ON TO DEER LIFE, THERE’S A BLACK BOY BEHIND YOU!