The chaos that unfolded at the Raha Fest on New Year’s Eve has reignited a heated debate on the state of Kenya’s concerts.
In a candid yet polarizing statement, the Raha Fest organizers thanked their supporters while lamenting the challenges of hosting world-class events in Kenya, hinting that the December 31 event might mark their final outing in the country.
The organizers, whose ambitious 2024 calendar boasted an impressive lineup of global stars like Davido, King Promise, Ruger, and Shenseea, pointed fingers at a section of Kenyan attendees, accusing them of fostering an “entitlement culture.”
They described a worrying trend of individuals forcibly occupying events without tickets, compromising safety and order.
According to the statement, unruly behavior by non-paying attendees disrupted the final day of Raha Fest, leading to chaotic scenes, property damage, and police intervention.
The organizers maintained that their security protocols and personnel held up under the strain but were ultimately overwhelmed by gate-crashers.
They argued that this trend of entitlement not only endangers paying attendees but also discourages artists, vendors, sponsors, and organizers from investing in Kenya’s entertainment scene.
The result, they claimed, is a loss for everyone involved, painting a bleak picture of the future of festivals in the country.
The incident follows a series of high-profile disruptions at Kenyan events in December.
For instance, the Furaha Festival saw Diamond Platnumz leave without performing after chaotic scheduling and security concerns.
Similarly, Shenseea’s set at Raha Fest was cut short by tear gas as authorities moved to control unruly crowds.
Critics, however, argue that event organizers often use public statements to shift blame rather than taking responsibility for poor planning and security lapses.
“How do gate-crashers get in if proper protocols are in place?” questioned one attendee on social media.
Others highlighted the need for organizers to invest in better crowd management and ticketing systems.
The controversies surrounding Kenya’s December festivals reflect broader issues plaguing the country’s entertainment sector.
A lack of trust between organizers and attendees, coupled with inconsistent enforcement of security measures, has marred events that could otherwise position Kenya as a top destination for international artists.
For their part, the Raha Fest team expressed hope for a “course correction” in 2025, calling for collective soul-searching within the industry.
While their frustration is understandable, their critics argue that solving these problems will require more than public blame.
Whether or not Raha Fest will return to Kenya remains uncertain, but their response statement has amplified calls for reforms in event organization.
