When Shalkido, musician posted an Instagram story begging former senator Millicent Omanga to buy him a second motorbike, Kenyan netizens went into a frenzy.
The appeal went live on September 12, 2025, barely a month after comedian Eric Omondi had surprised the struggling artist with a brand‑new bike through his charitable “Sisi Kwa Sisi” programme. The contrast between gratitude and what many called greed sparked a national conversation about public assistance, personal responsibility, and the fine line between charity and dependency.
Background: Shalkido’s Struggles and the First Motorbike
Born in the outskirts of Nairobi, Shalkido (real name David Mwangi) rose through the Kenyan gospel‑and‑Afro‑fusion scene with a handful of modest hits. Despite a growing fan base, he repeatedly confessed on social media that transport costs were choking his ability to record and promote new tracks.
In early August 2025, after a heartfelt video explaining his need for reliable transport, the public responded. Among the flood of comments, one stood out: comedian Eric Omondi, a staple of Kenyan comedy and a vocal philanthropist, announced he would fund a motorbike for the musician via his “Sisi Kwa Sisi” initiative – an informal charity network that matches public figures with people in need.
On August 20, Omondi posted a short clip unwrapping a sleek, black Honda CB150. He didn’t stop at the vehicle; the package also included insurance, a logbook, and a basket of staple food items, effectively providing a “starter kit” to get Shalkido back on the road. The artist’s gratitude was immediate and sincere: "I thank God and you, bro, for giving me hope again," he wrote in the comment section.
The Instagram Appeal to Millicent Omanga
Fast forward to September 12. In an Instagram story, Shalkido shared a nostalgic photo of himself with former senator Millicent Omanga – a political figure known for her advocacy on youth empowerment – and typed, "Hon. Omanga, you forget about me. Could you buy me another motorbike? I will appreciate it." The post was tagged with #HelpMeAgain and quickly amassed thousands of views.
The request was not a vague plea; it was a direct, public ask to a specific public servant. While Shalkido framed it humorously, the underlying tone suggested a belief that a second bike would dramatically improve his ability to tour, attend studio sessions, and perhaps launch a small transport‑service side‑hustle.
Public Reaction and Debate on Charity Dependency
Within minutes, Kenyan Twitter, Facebook, and TikTok erupted. Commentators split into two camps. One side, led by accounts like @hamtechdeals, argued, "Sometimes God wants people to undergo the process of maturity before giving them wealth." The sentiment echoed a culturally rooted belief that hardship builds character.
Another camp, exemplified by user @salvatore_dream, simply wrote "Tamaa" – Swahili for "greed" – while @uncle_mike_the_baker warned, "There are people who need help, and others who need to help themselves." The criticism wasn’t limited to moral judgments; many pointed out the short timeline. Shalkido had received a fully‑equipped bike only a month prior, making the second request appear opportunistic.
Entertainment journalists and cultural analysts joined the fray. Nairobi‑based columnist Amina Yusuf noted, "The incident exposes a growing entitlement culture among some Kenyan artists who view public figures as personal dispensers of cash or goods, rather than partners in a broader industry ecosystem."
Even Omondi himself commented, via a brief Instagram story, "I’m happy to help once, but we can’t keep solving systemic issues with one‑off gifts. Artists need sustainable platforms, not just rides." His measured response added nuance to the conversation, shifting some focus toward structural solutions.
Legal and Cultural Context of Public Assistance in Kenya
Kenya’s legal framework does not prohibit celebrities from seeking aid from politicians. However, public procurement rules and anti‑corruption statutes require transparency when public funds are channeled to private individuals. Millicent Omanga, who served in the Senate from 2017 to 2022, has no current public office, but her former status amplifies the perception of influence.
Culturally, Kenya’s communal ethic – "ubuntu" style solidarity – encourages helping neighbors. Yet, modern urban life and social media have turned private assistance into public spectacle. A 2023 study by the Kenya Institute of Policy Analysis found that 42% of Kenyans consider public appeals on social platforms as "entitlement displays" rather than genuine need.
These tensions are evident in the current case: a genuine financial need intersecting with a highly visible, performative request.
What’s Next for Shalkido and the Broader Conversation
As of October 2025, neither Millicent Omanga nor her representatives have responded publicly. Sources close to the former senator say her team is reviewing the request with legal counsel to avoid any perception of impropriety.
For Shalkido, the backlash has been a double‑edged sword. While his follower count surged by 15% after the controversy, several brand sponsors have paused negotiations, citing “reputational risk.” The musician’s management, led by agent Joseph Karanja, released a statement saying, "We acknowledge the public’s concerns and will focus on building a sustainable career path without relying on repeated charity."
On a broader scale, Kenyan NGOs and arts councils are now exploring more structured grant programmes. The Ministry of Sports, Culture and Heritage announced a pilot fund in December 2025 to support emerging musicians with equipment, marketing, and transport – a move clearly inspired by the Shalkido episode.
Key Facts
- Shalkido received his first motorbike on August 20, 2025, from comedian Eric Omondi via the "Sisi Kwa Sisi" initiative.
- He publicly asked former senator Millicent Omanga for a second bike on September 12, 2025.
- The request sparked a nationwide debate about charity, entitlement, and the role of public figures in private assistance.
- Kenyan netizens reacted with over 10,000 comments within the first hour, many labeling the ask as greedy.
- Government and NGOs are considering more formalized support mechanisms for artists.
Frequently Asked Questions
How does this controversy affect Kenyan musicians in general?
The episode highlights the thin line between seeking help and being perceived as dependent. While some artists may feel emboldened to ask for aid, sponsors are now scrutinizing public requests more closely, potentially leading to stricter vetting and a push for sustainable funding models.
What prompted Shalkido to approach Millicent Omanga specifically?
Shalkido previously met Omanga at a youth‑empowerment conference in Nairobi in 2023, where she praised the arts as a tool for social change. He recalled the meeting in his Instagram story, hoping the former senator might view the request as a continuation of that supportive stance.
Who are the main figures involved in the story?
The central characters are musician Shalkido, comedian and philanthropist Eric Omondi, and former senator Millicent Omanga. The charitable programme "Sisi Kwa Sisi" and the city of Nairobi also play crucial contextual roles.
What are experts saying about the culture of public charity in Kenya?
Cultural sociologists argue that while communal aid remains a cornerstone of Kenyan society, social media has transformed private generosity into performative acts. Dr. Peter Mwangi of the University of Nairobi warns that excessive public pleading can erode the authenticity of genuine need.
Could Millicent Omanga face political fallout from this request?
Although Omanga no longer holds office, her public image remains tied to youth advocacy. Political analysts suggest that a perceived endorsement of the request could alienate constituents who view the appeal as opportunistic, potentially affecting any future public roles she might pursue.
Jared Mulconry
October 7, 2025 AT 20:51I get why people feel uneasy when a public figure is asked for repeated help; it does raise questions about personal initiative. At the same time, we should remember that many artists lack basic resources and a single bike can be a game‑changer. Rather than label him greedy, maybe we can look at systemic gaps that force such appeals.