 언니 challenges But continue with yourself You also play Nice Do you want to really utла Thank you Or you should say Introduce us up to the people to your story. My name is Falcon. Falcon yote na kwa capital. Tuko Falcon na tatu tu, wakwanzan indega the bird, pa pili ni mimi na tatu ni deakta, and all of us are black. I like that. Why Falcon? Let's start with that. Falcon, despite the agility, the fact that Falcon indega nbako very swift, Falcon is also a bird, a very small bird that is not at most time recognized, but very, very, very, very strong. Yes. Of all the species I think of the birds, the ones that were told, or rather the one species were told that is out there in Ingo. So I would have assumed, you already know your niche. I like that, I like that. Falcon, I don't know where to start from. Maybe we start from the reverse. Twanzib mali tuko sa in the present, na puyansa as we call backwards now maybe. So tell us about na puyansa. Na puyansa is a funny story. It's a real life story. Hashtag Thursday 5th. Yes. Kwanza, I really want to thank God. Siju ni shkuru mungu ma shita. I thank God for allowing heartbreak to follow my best friend. Enna shkuru sana mungu, mungu ma lichiza kamae sana, kama cha pa beshtiangu na heartbreak. First let's confirm. No, no, no, my best friend. This is a guy. It's written from a guy's perspective. So my friend had a woman, not a woman but a lady in the city. He had a girlfriend in the city. And then he came to Nairobi, kwanza kuwantubo baman. Pesakam fanya the God of love in Nairobi. Where, where, where? So he fell in love with another chicken Nairobi. So now they are true in the city? Yes, no. So love in the city with money, you know. So you know what happens in a pesakifu like it's fire, yes. So love in the village to die for a moment. Eh, sasa. Yusia katandiko na brekidenzuri. Ino kuna li habrekina kutandika. Ino tuwa character development. Ya, it can't like pentecost. That thing can't like with really superpower. Ya. So he came to my place. It was like so, so, so bad. It was terrible. And he came to my place. So it was around Satisa Ossiku. Ya, I have a small home studio, bedroom studio. So he look up on Satisa Ossiku was playing the guitar and then he was like, bro, me I miss this chick from the village. Uum demwa patawame. Nifanyam zena mistu ya ni nilubihom di patanian. Uum. And I was like, ah, that's a good idea. And then I was sleepy. And then he started playing the guitar and he was like, I was like, what is that single thing again? So I went and played the keys. And I was like, no. This thing is calling that one. So the guy is Luya. The guy is a Luya. I was like, you know what, give me some Luya lyrics. I'll combine it with my Mijikenda lyrics and then we add some Swahili on top. Yo, my mum was a Tarab singer. So I was like, I have like amazing poetry in me. So I was like, I'll just combine the three languages, my tribe, your tribe. And then I'll sing for you the message. She gets it. Well, she doesn't get it. She'll react for you. Yeah, we came up with the song. Okay, just to clarify about heartbreak. So there were two. First there was one. Yes. A lafaka kujaya katerimu kaivi. Yes. Okay. So yeah, in the city Nairobi, kanaero, karibu kanaero, karibu kenya. Yeah. A lafaka chikuwa flakwen. As if you have not been warned. As if. As if there are no warnings everywhere, everywhere, every corner. Yeah. Okay. Sasa, alafu wu ya kama karibisha Nairobi with character development. Yes. Yes. Sasa, wu ma shinani bado alikua? Bado alikua, lakensu na jwa shinani wako mangodi amungu bring them back. I understand. So, akuna to visiting ni sasa where we would dome uru? Yes. Uru di. Yes. So that's now basically where the song is at. Yes. Right now. Yes. How does it end for your friend? We're still, still to be continued. We still waiting. Maybe the ending will give me what is to come next. Bana. Yes. I'm so sorry for character development. Atami nili pigo. That's why I'm I can confidently laugh at you. Zata mimi nili pewa. Kwanza bai king. Yeah. Reisha king of character development. So mimi nili chapayo. But it's okay. We are alive. We didn't die. Hashtag is thirsty vibes. So that's Takwiyanza. Yes. Let's go now in reverse. Tell me what came before that. And then maybe we jump a little bit to the genesis. Like how you, ames mama ke li kwa dini into atarab, which I find very interesting. You'll tell me about that too. Okay. I've been a singer before. I think many years down the line. But the reason people have not heard about the falcon is because I've majorly been basing on writing. I'm a kotez songwriter professionally. I've written for Antonio. So I've written for many big artists in Kenya, maybe East Africa. I've written for Elani. So I've been busy doing poetry for the people. So we know you just don't know your face. We already know your words. Okay. So I've been busy writing music for other people. But there was that time now I was like, no, this is the point where I really start. So I got to that point like, yes, now I'm ready to start. So now behold as I is me. You end up behold. Oh, no. Yusasa. You got life. Hey. And I hear an accent. Next. I really like it in sex. Why? Grown up in Mombasa. Not Mombasa, actually, Kilifi to be exact. I was born there. School there. I schooled at Kapsabit High School and then UN. So part of my huge life animation the Ukubara and then my younger life in Kost. I left for Kujokongzena in the University of Nairobi. I woke up Nairobi in Kuweli. All right. So tell me the beginning before you knew you could write songs. What led you to write songs for the people? How do you even reach out to these people? I'm not one to scare. That's how many of you me and me came back. You can go through. Kafika maali. So say, nana na kwandiki ani nani? Nifakon. Even do na pata. Okay. Fun enough, I have the most irritating story, but no one else can find it irritating than my mother. My mother had to go through a huge part of her life listening to my irritating training of guitars, you know, of keys and blah, blah, blah. Yeah. And then I learnt a lot of writing from her because she was, you know, Tara writers were real poets. They literally, they wrote poems. Dona zingati aizu rulsi vina, blah, blah, blah. So I got that from her. But then coming to this age now, we have Aban. So I had to go back into study. Now my first writing began. I was in Kost. And then I had this neighbor. He was Egyptian. And he was like, you know what, I'm a singer, but I cannot write. I was like, you know what, just give me the lyrics from your language. And then I'll write for you. So I listened to a whole album of Egyptian music, by the way. Wow. So that I could get what they do and that culture thing. And that's why my ascent has like, it's like confused. I'm very confused. I don't know what ascent I took. I don't know if it's shame. No, it's not shame. So some guys are like, you're Congolese? No, I'm not Congolese. Soili Sanifu, but you're also very good in English that rules out being Danza. Because then they have problem with being good at both. So it really, it's confusing. So after that, after I wrote that album, it led to one of my very close friend. He's also a producer called St. P. We are very related. Okay, I don't want to talk about the related part, but he's also a very close friend. So I came to his place. Actually, he made me stay there and explore more, like for a whole year. I really thank him. Shout out to you. A whole year is nothing. Yes, at his place, literally. So he taught me a lot. That's why I got all the skill of production.