The death of Ohangla musician Tony Ndiema has reignited long-standing claims and speculation about the alleged role of witchcraft in Kenya’s popular lakeside music scene, with some artists insisting supernatural forces are used to gain fame while others dismiss the allegations as myths.
Ndiema, popularly known for his energetic performances, died while undergoing treatment at a private hospital in Kisii after collapsing earlier in Rongo, Migori County. He had reportedly complained of persistent headaches before his condition deteriorated.
His cousin, Benson Atudo, a former Assistant Chief of Kotieno Sub-location, said the family remains shocked by his sudden death.
Ndiema had left his home in Omoche village, Kotieno Location, Rangwe Sub-county, hoping to receive treatment and recover. According to Atudo, doctors carried out several medical tests but were unable to establish the cause of his illness.
“His death has shocked us as a family. He was complaining of headaches, but all the tests he underwent did not reveal any problem. It is very sad,” Atudo said.
Beyond his recent illness, Ndiema had previously spoken publicly about mysterious health challenges that disrupted his flourishing music career. In past interviews, he claimed he believed his problems were the result of black magic allegedly orchestrated by rivals seeking to derail his success.
He recounted a period when he was physically healthy but repeatedly lost his voice whenever he stepped onto the stage to perform.
“It reached a point where I could not sing because my voice would completely disappear whenever I was performing. Yet away from the stage, I could speak normally without any difficulty,” Ndiema said in one interview. He added that the problem did not affect him while recording music.
“When I went to the studio, I recorded my songs without any problem. My voice was clear. But once I faced a live audience, it would disappear.”
Ndiema further claimed that attempts to clear his throat during performances sometimes resulted in him spitting blood, leaving him distressed and unable to explain what was happening.
“Sometimes I would try to clear my throat thinking there was phlegm, but blood would come out instead. I kept wondering what was happening to my life,” he said.
The unexplained condition took a heavy emotional and financial toll on the musician. Unable to perform consistently, his income dwindled and his band gradually weakened.
He said rumours soon began circulating that his band had collapsed, while others spread false allegations about his personal life.
“It became so bad that people started saying my band had collapsed. Others even accused me of having affairs with people’s wives, which was completely false,” he said.
Supernatural powers
Despite the setbacks, Ndiema said he remained hopeful of returning to the stage. “My mother and her friends kept encouraging me until I recovered and resumed performing, despite those who believed my career was over,” he recalled.
Following news of his death, social media platforms were flooded with tributes alongside renewed debate over persistent beliefs that some musicians consult traditional healers to gain fame or undermine competitors.
Veteran Ohangla and Benga musician Tom Mboya is among artists who insist such practices exist within sections of the industry.
“I stand for the truth, and the truth will set me free. Some young musicians who have joined the industry rely on supernatural powers to outshine their colleagues. Some seek help from witchdoctors in Mombasa,” Mboya claimed. According to him, some musicians believe traditional healers can increase the popularity of their songs or weaken the careers of perceived rivals.
He, however, warned upcoming artists against relying on such beliefs, saying talent, creativity and hard work remain the best path to success.
“Young musicians should learn from those of us who came before them. There was a time when Dola Kabari released excellent songs. Whenever his music outperformed mine, I simply worked harder and produced better songs. We competed through creativity, not witchcraft,” Mboya said.
Claims linking success in the Ohangla industry to supernatural powers have circulated for decades, often surfacing whenever a prominent musician falls ill, dies unexpectedly or experiences a dramatic rise or decline in popularity. However, such allegations have rarely been supported by verifiable evidence.
Even so, the stories continue to shape conversations around the genre, which remains one of Kenya’s most influential musical traditions, particularly in the Luo community.