For years, there has been a huge discussion on how performing artists are able to monetize their art in the Kenyan music scene. In the early aughts, notable artists were from music groups such as Them Mushrooms, Slim Ali and the Hodi Boys while we also had solo artists such as Kato Change, Fadhili Williams and more. Their main revenue from music was mostly through selling physical copies of their album. As producing the physical copies was equally expensive, the artists mainly sought to have a compilation of songs rather than selling single copies of their songs. Concerts, shows, and club gigs were the main revenue source for many musicians. Artists toured locally and performed at hotels, nightclubs, and events to make money. During this time, tourism was a growing industry in Kenya, and popular tourist hotels often hired local bands to entertain visitors, providing a steady income stream for musicians.
Subsequently in the 80s, the material gains of music were in politics. The government persecuted musicians who were not praise singers, and it made the Permanent Presidential Music Commission. Musicians who composed songs that touched President Moi’s heart received almost immediate jobs, such as the Maroon Commandos. As a result, the epitome of recognition for a Kenyan musician was playing for the president in the stadiums or winning in the categories of the Kenya National Music Festivals which would perform at State House.
With the expanded political space in the 90s, the motivation for supporting music expanded ever so slightly, incorporating money. Especially under the economist president Mwai Kibaki, it became easier for musicians to earn a living from hits, not just from radio play, but also from sponsoring political parties, or from corporates who needed jingles or a celebrity face for their products. With the evolution of technology, artists in the early aughts started earning brand endorsements such as Amani creating the Celtel Jingle in the mid 2000s. Despite Kenyan artists still heavily relying on shows, the brand endorsements opened new doors for artists making money.
With mobile service providers developing internet speed and the advancement of the internet modern artists have new ways of creating revenue. Today, Kenyan musicians have a variety of revenue streams that reflect both the digital transformation in the music industry and the unique structure of the Kenyan market. From 2015 Platforms like Spotify, Apple Music, Boomplay, Mdundo, and YouTube have provided musicians with revenue based on streams and downloads. While streaming rates are typically low, these platforms allow artists to reach a broader audience.
YouTube, in particular, has been a popular platform for Kenyan artists, allowing them to earn through ad revenue as their views grow. Still, Live performances remain a crucial revenue stream for many Kenyan musicians. Artists perform at local and international concerts, festivals, clubs, and private events. High-profile musicians can command substantial fees for gigs, and live events provide an opportunity for artists to directly engage with fans. Virtual concerts, which rose in popularity during the COVID-19 pandemic, continue to be a source of income as well. Despite the controversies, royalties from Music Licensing. The Music Copyright Society of Kenya (MCSK) and other collecting societies, like PRISK (Performers Rights Society of Kenya) and KAMP (Kenya Association of Music Producers), collect royalties for artists from radio and TV stations and public spaces that play music. The provision of “Synchronization Licenses” enables artists to earn money when their music is used in commercials, movies, or TV shows. As the Kenyan film and TV industry grows, more artists are able to license their music for use in local productions.
Platforms like Instagram, TikTok, and Facebook have become essential for Kenyan musicians to connect with fans and earn money. Artists can monetize these platforms through sponsored content and paid partnerships, especially if they have a large following. The Selling branded merchandise has also become increasingly popular among Kenyan artists, especially those with dedicated fanbases. Artists sell T-shirts, hoodies, caps, and other items at concerts, online, and via social media, providing another revenue stream while also promoting their brand; this has mostly been noted with groups such as Buruklyn Boys and Mad Clan . In addition to global streaming services, local music distribution platforms like Mdundo and Skiza (an initiative by Safaricom) enable artists to distribute their music directly to Kenyan fans. Safaricom’s Skiza Tunes, for example, pays artists a share when users set their songs as call-back ringtones, which has become a major income source for many Kenyan musicians. Kenyan musicians today are diversifying their income streams more than ever, adapting to digital opportunities while continuing to rely on traditional methods like live performances and brand partnerships to sustain their careers.
Also Kenyan artists often work with brands, particularly in the telecommunications, food and beverage, and fashion industries. They appear in advertising campaigns, promote products on social media, and represent brands as ambassadors. These endorsements can be very lucrative, especially for artists with significant social media followings. At the moment we have seen numerous brand endorsements entailing artists such as Khaligraph and Femi One working with Monster energy and the most recent controversial Nyashinski and Tecno partnership that saw the former embroiled in a legal battle.