I Didn’t Do The Song For Kenyans- Getumbe Gives Ezekiel Mutua The Middle Finger And Promises Not To Delete Music
Kenya Film Classification Board (KFCB) has issued a directive demanding the removal of songs deemed unethical and blasphemous from digital platforms. This directive specifically targets Chris Embarambamba and his associate, William Getumbe, stirring up controversy in the music scene.
In response to the directive, William Getumbe has boldly declared his defiance, vowing not to remove his contentious song from various digital platforms. Despite receiving a demand letter from KFCB, Getumbe remains resolute in his decision.
In an exclusive interview with TUKO, the 48-year-old artist expressed his unwavering commitment to making the song accessible to his audience.
“I won’t delete the song from my YouTube channel or social media accounts,” asserted Getumbe, highlighting his firm stance against censorship. Moreover, he asserted his readiness to take legal action against Ezekiel Mutua, the head of the Music Copyright Society of Kenya (MCSK), should the song be removed without his consent.
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“I won’t delete my song. I invested in the song and I am ready to defend myself. If the song is deleted against wish, I will take Ezekiel Mutua to court.
“I am ready with my lawyers and there are many people who are willing to represent me for free. We are creating content for a global audience, so if the song has angered a section of Kenyans, it shouldn’t been removed since I created it for an international purpose. There are those who appreciate the song,” he said.
Addressing allegations of blasphemy, Getumbe vehemently defended his controversial creation, titled “Yesu Ninyandue,” arguing that it carries a positive message akin to any other gospel song.
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“Yesu Ninyandue is a good song, just like any other gospel song. It’s not blasphemous. I am a preacher, and I wouldn’t mock God,” he asserted, emphasizing the song’s integrity and his own commitment to his faith.
The standoff between Getumbe and KFCB underscores broader debates surrounding artistic expression, censorship, and religious sensitivity within Kenya’s music industry.
As tensions escalate, the outcome of this confrontation remains uncertain, leaving both artists and authorities at odds over the boundaries of creative freedom and cultural sensitivity.
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