Nairobi’s CBD came to a complete standstill Friday night, not for politics or protest—but for a matatu. And not just any matatu. George Ruto, youngest son of President William Ruto, pulled back the curtain on ‘MOOD’, a KSh14 million, solar-powered street machine that redefines what it means to ride in style.
Launched in spectacular fashion at the Kenyatta International Convention Centre (KICC), the unveiling turned into a full-blown street party, drawing thousands of Nairobi youth, igniting social media, and causing hours-long traffic disruption.
Convoys of pimped-out nganyas, booming speakers, and flashing lights escorted ‘MOOD’ into the spotlight—a cultural moment as much as a transport debut.
MOOD: A Matatu Like No Other
Forget the typical 32-seater design—MOOD is a 25-seater art piece on wheels. Drenched in graffiti, with luxury black rims, a custom grille, and a million-shilling number plate, it carries the energy of a nightclub and the spirit of Nairobi’s matatu culture—turned up to 100.
Inside, you’ll find:
- Plush bucket seats with cupholders and USB ports
- A 65-inch TV
- A full air-conditioning system
- A live DJ mixing booth
- A solar-powered entertainment system
- And a KSh2 million sound setup that thunders through the streets
It’s not just transport—it’s an experience, a rolling festival, and a symbol of Gen Z creativity.
The Cultural Earthquake
The launch of MOOD was more than hype. It was a cultural earthquake. Hundreds flocked to KICC for free performances, street dancing, and the rare chance to witness Kenya’s matatu culture evolve in real time.
The vibe? Gospel meets Gen Z—with a preacher anointing the engine while a DJ dropped beats beside him. Only in Nairobi.
MOOD joins George Ruto’s growing fleet—following earlier hits like “Manifest” and “Matrix”. But this one? It’s different. It’s personal. It’s political.
More Than Just a Ride From George Ruto Dubbed ‘MOOD’
Despite being a trained pilot and the family’s youngest, George Ruto has found his lane—and it’s loud, vibrant, and tuned into youth culture.
He’s fast becoming the most relatable Ruto, not with podiums and policies, but with pulse and presence.
In a nation where matatus are canvases for expression, George’s ‘MOOD’ doesn’t just reflect the culture—it pushes it forward.
In a time of discontent and division, he’s managed to unite Kenya’s youth not with protest—but with purpose, paint, and power bass.
Maybe it’s just a matatu. Or maybe it’s a movement. Whatever it is, MOOD has arrived—and Nairobi will never be the same.
