A Complete Departure from Gospel Roots: Kenyan artist Kevin Mbuvi Kioko, popularly known by his stage name Bahati has once again stirred the pot. This is with the release of his latest track, “Seti”—a song many fans are calling a direct insult to his Christian supporters.

Known for his beginnings as a gospel singer, Bahati’s dramatic shift into overtly secular music has sparked widespread backlash. This raises serious questions about his artistic direction, personal brand, and relationship with faith-based fans.

Bahati built his reputation around songs that conveyed strong messages of faith, struggle, and redemption. Notably, his new track, “Seti”, stands out starkly from his previous work.

However, “Seti” marks a complete departure from that image. The song’s music video features sexually suggestive scenes. This includes Bahati receiving a lap dance and being surrounded by provocatively dressed dancers. The lyrics are rife with sexual innuendo. This showcases a side of the artist that many fans find difficult to reconcile with his gospel origins.

The reaction was immediate. Shortly after its release, Bahati’s New Song “Seti” received a high number of dislikes on YouTube—an uncommon public display of disapproval. On social media, fans expressed feelings of disappointment, shame, and confusion. Many lamented what they described as the “death of Bahati the gospel artist,” with one user commenting:

“We prayed with him, cried with him. Now he’s out here selling lust and calling it music.”

Another fan added, “From Barua ya Yesu to lap dances—what happened to the Bahati we knew?”

The online discourse reflects a community that feels abandoned by an artist they once considered a spiritual role model.

In a move that intensified the controversy, Bahati’s wife and fellow public figure, Diana Marua, publicly distanced herself from his new musical direction. In a statement shared on her social media platforms, Diana stated:

“I’m focused on building my own brand and maintaining values that align with my vision. I’m not involved in Bahati’s new song or the direction he has taken in his music.”

Her public disassociation was seen by many as a rare and telling sign of internal disagreement. Furthermore, it validated the concerns of fans and amplified the public’s scrutiny of Bahati’s choices.

Bahati, never one to shy away from criticism, responded to the backlash. He made a controversial post on his own social media accounts:

“Si mlisema mumemiss ngoma zangu, kwani makosa iko wapi tena?” (“You said you missed my songs, so what’s wrong now?”)

The defensive tone of the response to the controversy surrounding Bahati’s New Song “Seti” has only served to widen the divide. While he claims the song is a form of “artistic expression,” many fans feel that this justification trivializes the values he once stood for.

This isn’t the first time Bahati has been at the center of public debate since transitioning to secular music. In the past, he has been criticized for flaunting wealth online. He also engaged in theatrical stunts for attention. Moreover, he produced content deemed inappropriate for someone with a gospel background.

These incidents have collectively painted a picture of an artist increasingly willing to trade moral clarity for fame and online buzz. This is a narrative that many of his Christian fans find disheartening.

Artistic evolution is expected, especially in an industry that thrives on reinvention. However, Bahati’s case reveals the tension between personal branding and public expectation. This is particularly so when an artist’s foundation was built on spiritual values.

While Seti may succeed in pushing boundaries and grabbing headlines, it appears to have come at a steep cost: the trust and support of a fanbase that once saw Bahati as more than just an entertainer—but as a messenger of hope.

Whether this marks a permanent break from his gospel roots or just another controversial chapter in his career remains to be seen. But one thing is clear: Bahati’s New Song “Seti” has not just shaken Bahati’s image—it has split his audience.