Why foreign artistes leap big in Kenya at expense of local musicians
If not the most vibrant, Kenya’s music industry is rated as one of the most advanced ones in Africa.
The country’s music is a rich tapestry of just anything you could think of, thanks to the wealthy and diverse origins bettered by a unique cultural diversity.
However, for many years, Kenyan musicians haven’t really enjoyed the fruits of their sweat, due to a variety of factors among them piracy, lack of proper governing structures and policies, and competition from other regions of the continent and world.
For decades, we have witnessed foreign artistes jet into Kenya, perform for just a few minutes.
And what do they get? Fat cheques from the events organisers and promoters, at the expense of the local folk, despite sharing the same stages and audience.
But why has this been allowed to run untamed for so long? Who is to blame? Who abets this atrocity against our very own artists?
Mike Mutenyo, a brand and talent manager and the Founder and CEO of Upeo Talent Agency, is well versed with the country’s music industry.
He opines that Kenya’s entertainment market is free and so are other markets elsewhere, so it boils down to how individual artistes package themselves and how the market reacts to their music.
“There’s really no one to blame here. The entertainment industry has always been a free market. Artistes perform where their brand is most popular. For instance, in 2018, Arrow Bwoy was invited to perform in Mauritius because his song Digi Digi was a big hit there,” shares the Brand Guru.
Mike adds that Kenya has a unique way of consuming content, as the local music audience embrace entertainment from all over.
This, he says, influences which artistes are invited to perform, with their payment depending on their perceived value and the brand they have built.
“Events organisers aim for acts that promise a good return on investment (ROI). However, they sometimes overlook local talents that could offer similar returns. For example, a recent event featured Joel Lwaga and Christina Shusho, but including Guardian Angel could have attracted a comparable crowd, given his strong numbers and catalog,” offers Mutenyo.
He adds, “This situation is complex and depends on the perceived value, which our artistes can create through branding, publicity, strategic investment in their craft, collaborations, and putting in place solid business structures. Both artists and events organisers, including promoters and booking agents, have roles in elevating the sector to bring more value and respect to it.”
The renowned industry insider says it works for the artistes when they take matters on their hands, other than depending on other quarters to set the pace.
“In fact, some Kenyan artistes such as Sauti Sol have taken matters into their own hands by organising their own events including Solfest. These events are a good way of challenging traditional concert models, giving creatives more control over their careers,” he adds.
Industry players intimate that the entertainment industry is largely driven by the audience/fans/consumers who dictate trends and determine who gets booked for shows.
“Promoters often choose to bring in foreign artistes because they are the ones dominating the airwaves locally, with clear evidence from platforms such as YouTube showing that a significant portion of their views comes from Kenya,” shares Agnes Nonsizi, a talent manager, publicist and events host.
Nonsizi adds that foreign artistes operate with well-structured management teams that handle their branding, negotiate rates that reflect their market value, and enforce strict contracts that ensure professionalism in all engagements.
“Unfortunately, this level of organisation is missing in many local artistes. Without proper structures and management, dealing with them can be challenging for promoters, making foreign artistes a more reliable option,”says the media personality.
This gap in professionalism and structure, points Nonsizi, highlights the urgent need for Kenyan artistes to invest in proper management and branding if they are to compete effectively on both local and international stages.
