Popular Mugithi musician and police officer Samidoh Muchoki has reportedly been transferred to the Anti-Stock Theft Unit (ASTU) headquarters in Gilgil, Nakuru County, following a controversial public performance that stirred political tensions.
According to sources familiar with the matter, the transfer came in the wake of a viral video showing Samidoh leading a crowd in chanting “Wantam” — shorthand for “one term,” a slogan interpreted as a direct jab at President William Ruto. The chant has gained traction among political factions critical of the current administration and is seen as a rallying cry ahead of the 2027 general election.
Senior officials within the National Police Service are said to have viewed Samidoh’s participation in the chant as a breach of the service's strict code of conduct. The incident was deemed a violation of the National Police Service Standing Orders, which prohibit officers from engaging in political activities while in uniform or acting in their official capacity.
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As a result, Samidoh was swiftly moved from his previous station in the Central Region to ASTU, a specialized unit tasked with combating livestock theft and rural banditry — often considered a less prestigious and more challenging assignment.
Social media reacted quickly to news of the transfer. While some users poked fun, saying Samidoh would now be "singing for cows in Gilgil," others defended him, pointing out that his successful music career provides him with financial independence. Still, many expressed concern about what they see as a crackdown on freedom of expression.
Adding intrigue to the situation, Samidoh has not officially addressed the reported disciplinary action. However, he did briefly post — then delete — a cryptic message on social media claiming he feared for his life, a move that only intensified public interest.
Conflicting reports have since emerged, with Standard Digital claiming Samidoh has been reassigned to Baringo County — a region known for persistent security threats, including cattle rustling and banditry. If accurate, the transfer would place him in one of the most volatile parts of the country, further fueling speculation that this is a punitive measure.
The incident has sparked a broader national conversation about the delicate balance between artistic freedom and the responsibilities of public servants. Critics argue that Samidoh, despite being a beloved entertainer, must still adhere to the standards expected of law enforcement officers. Supporters, however, insist he has the right to voice public sentiment through his music.
As the dust settles, questions remain about the implications of this move — not just for Samidoh’s career, but for Kenya’s ongoing dialogue about political expression, censorship, and the roles of public figures in shaping national discourse.
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