In early 2023, the renowned celebrity critic and content creator, CassyPool, directed some pointed criticisms towards Otile Brown, asserting that he is among the most overrated musicians in Kenya. CassyPool believes that emerging artist Ngesh Kaveve kazoze surpasses Otile Brown in terms of talent and relevance.
During an interview with Plug Tv, CassyPool candidly expressed his opinion that Otile Brown’s once-prominent position in the Kenyan music industry has waned, and his talent is no longer as prominent as it once was. CassyPool further argued that Otile Brown’s era of dominance has come to an end.
CassyPool contended that Ngesh Kaveve kazoze, a rising star in the gengetone genre, exhibits more significant potential than Otile Brown. This assertion aligns with contemporary musical trends and YouTube performance metrics, where Ngesh Kaveve and Spider Clan’s songs consistently garner millions of views, outperforming Otile Brown’s tracks.
Furthermore, CassyPool suggested that Otile Brown should consider pivoting his career towards fashion, emphasizing his adeptness in marketing clothing brands. In CassyPool’s view, this transition represents an opportunity for Otile Brown to channel his talents effectively.
In addition to these critiques, CassyPool highlighted Otile Brown’s perceived lack of substantive content, citing his attempts to sing English songs with female names as an example of his diminishing relevance within the Kenyan music scene. CassyPool maintained that Kenyan audiences find Otile Brown’s endeavors in this direction lacking resonance. He contrasted Otile Brown’s declining presence with the success of Khaligraph Jones, the only artist whom CassyPool believes has propelled Kenyan music to international prominence.
In conclusion, CassyPool’s critique of Otile Brown underscores the evolving landscape of the Kenyan music industry, with a new generation of talent like Ngesh Kaveve kazoze gaining momentum. Whether Otile Brown chooses to adapt and explore different avenues or refocus on his core strengths remains to be seen, but CassyPool’s commentary adds to the ongoing discourse about the ever-changing face of Kenyan music.
