Photo: Courtesy
Kenyans on social media have ignited a fresh debate surrounding Christopher Mosioma, the controversial gospel singer famously known as Embarambamba, following the release of his latest song. The Kisii-born artist recently shared a snippet of his new track titled “Nataka Kupupu,” in which he sings about confessing sins and seeking repentance.
In the video snippet, Embarambamba is depicted kneeling before an altar in a church, holding a Bible and the Kenyan flag. His lyrics, albeit unconventional for gospel music, express a plea for forgiveness and spiritual cleansing. “And before you, Father, I am sinful (*3), and I will confess before your face (*2). I want to poop (*2), I want to poop (sin) (*4), I am burdened with sin, oh God help me (*2),” he passionately sings, concluding with an announcement that this will be his next gospel hit.
The term ‘Kupupu’ in Sheng—a popular urban dialect in Kenya—commonly refers to the need for a significant bathroom visit. Despite Embarambamba’s intended spiritual message, the lyrics have sparked diverse reactions among Kenyans online, ranging from criticism to amusement.
On Twitter, users shared varied opinions:
@Rhymaholic expressed bewilderment, questioning Embarambamba’s lyrical choices and suggesting he missed some basics.
@Inganga_Fre took a more drastic stance, humorously suggesting that the singer should consider leaving the country.
@kelvintoo14GMA1 voiced concern, stating that action needs to be taken regarding Embarambamba’s content.
@sagarakelvin2 offered a satirical take, likening the situation to a person who has overeaten and is now vomiting out content.
Bill_valar advocated for a restoration of Embarambamba, implying that he might have strayed from traditional gospel norms.
MalcomX56971 reacted with disbelief at the mention of ‘pooping’ in church, highlighting the shock factor of the singer’s unconventional approach.
Embarambamba’s unique style, characterized by energetic performances and unorthodox lyrics, has consistently divided public opinion. While some appreciate his theatrical approach to gospel music, others argue that it blurs the lines of religious reverence and propriety. As discussions continue, the singer’s latest release has once again placed him at the center of Kenya’s social media discourse, reflecting broader debates on artistic expression, religious norms, and public reception.
