A Political Soundtrack for a Nation

For decades, the political journey of Raila Amolo Odinga was inseparable from its soundtrack. From the defiant beats of "Unbwogable" that defined an era of change to the mournful hymns released in the wake of his passing, music was more than just a backdrop to his career; it was a language he used to connect with millions. Following his death on Wednesday, October 15, 2025, an analysis of his life reveals a leader who understood, embraced, and wielded the power of melody as a political tool, leaving a legacy that continues to resonate through the nation's speakers.

Mr. Odinga passed away at the age of 80 after suffering a cardiac arrest during a morning walk at an Ayurvedic facility in Kerala, India, where he was undergoing treatment. The news prompted an outpouring of grief, not least from Kenya's artistic community, for whom Odinga was a muse, a patron, and a subject of countless compositions.

From Personal Taste to Political Symbol

At the core of his connection to music was a genuine and eclectic personal taste. He often spoke of his fondness for the classics, citing artists like Harry Belafonte, Cliff Richard, and Elvis Presley as favourites from his youth. Belafonte's 1956 ballad, "Jamaica Farewell," became one of his signature songs. He was known to sing its wistful lines during interviews, and after his death, the lyrics, "But I'm sad to say, I'm on my way, won't be back for many a day," took on a poignant, prophetic meaning for many Kenyans.

His appreciation for music was not limited to nostalgia. He famously adopted the late Lucky Dube's hit "Nobody Can Stop Reggae" as the anthem for the Building Bridges Initiative (BBI). The choice transformed the reggae track into a potent political symbol of unstoppable reform, chanted at rallies and debated in households across the country. This demonstrated his knack for embedding a political message within a popular cultural artifact, making it accessible and memorable.

The Rally as a Concert

Raila Odinga's political campaigns consistently blurred the lines between a political gathering and a music festival. The 2002 general election, which ended KANU's 40-year rule, was energized by Gidi Gidi Maji Maji's hit "Unbwogable." Though not originally a political song, the National Rainbow Coalition (NARC), in which Odinga was a key figure, adopted it as their anthem of defiance and change.

This trend continued throughout his career. In the lead-up to the August 2022 elections, he collaborated directly with Luhya Benga musician Emmanuel Musindi on a remix of his song "Leo ni Leo." The music video, which premiered in February 2022, featured Odinga himself, clad in a bomber jacket, singing and dancing—a move that showcased his willingness to engage directly with popular culture to mobilize his base.

An Advocate for Artists' Rights

Beyond the stage, Odinga's engagement with the music industry included substantive actions. In May 2022, he became the first presidential candidate to pay the Music Copyright Society of Kenya (MCSK) for the use of music in his campaigns. His daughter, Winnie Odinga, presented a cheque for KSh 562,500 to the MCSK, a move that was widely seen as a significant endorsement of intellectual property rights for musicians who have long lamented the lack of fair compensation. In a meeting with artists in January 2021, he urged them to use their talents to promote national unity and avoid being used to propagate divisive politics.

A Legacy Etched in Tributes

The deepest measure of his impact on the arts became evident after his death. A wave of tribute songs emerged from artists across Kenya and East Africa. Gospel singer Bahati released "Bye Bye Baba," while Ohangla sensation Prince Indah published a soulful track in Dholuo mourning the loss of a community icon. The tributes crossed borders, with Tanzanian artists like Diamond Platnumz and Christina Shusho, and even Jamaican dancehall star Vybz Kartel, paying their respects. This flood of musical elegies from diverse genres underscores the extent to which Odinga's persona had become intertwined with the region's cultural identity. For decades, musicians sang about his struggles and ambitions; in his death, they sang of the nation's grief and his enduring legacy.