What started as a lyrical contest between two of Nairobi’s rising drill forces has quickly evolved into a national conversation drawing the attention of fans, artists and industry players.
At the centre of the storm is Buruklyn Boyz, the Buru Buru-based duo known for their raw drill sound, and Toxic Lyrikali, the Kayole-bred rapper whose sharp lyricism and viral hits have earned him a devoted following.
Their rivalry, which erupted publicly early this year, has dominated timelines, sparked street tension and drawn reactions from fellow musicians and fans across the country.
The conflict gained momentum when diss tracks started circulating online, with each artist trading lyrical blows in a bid to assert dominance.
For fans of drill a genre built on confrontation and bravado the exchange was thrilling and divisive.
As the diss tracks spread, the rivalry moved beyond streaming platforms and into real-world spaces.
Videos shared online showed confrontations between groups believed to be supporters of the rival camps, heightening concerns about the line between artistic expression and physical conflict.
The situation prompted reactions from fellow musicians and celebrities, some urging restraint and warning that the escalating tensions risked damaging the industry.
Several artists called for calm, appealing to their peers not to release further diss tracks that could inflame emotions, and instead focus on unity and building the Kenyan sound.
Other artists hailed the beef going to an extent of asking other artists to postpone producing songs during the beef period claiming that their songs may spoil the mood.
“Now people are focused on the beef brother”, a well-known artist advised a fellow artist on one of his posts when he asked people to go and listen to his new song.
For Kenyans, the feud has become a spectacle playing out in real time. On social media platforms, fans have fiercely defended their preferred artist, dissecting lyrics, sharing memes, and debating who emerged victorious in each round.
They praised rivalry as a sign of a thriving drill culture, arguing that competition sharpens creativity and pushes artists to improve. Others, however, expressed concern that the hostility could overshadow the music and send the wrong message to young fans.
“This is entertaining, but it should remain music,” one user wrote on X. “It should not turn into something dangerous.”
The rivalry has also highlighted the growing influence of drill music in Kenya, a genre once confined to underground circles but now commanding national attention.
Whether the feud fades or fuels more music, it has already left a mark, capturing the imagination of fans and underscoring both the promise and tension of Kenya’s evolving urban soundscape.