Naija Night: A Phrase Kenyan Promoters Hate with a Passion

When Nigerian Afrobeat took over Kenyan nightlife, local artists and promoters were relegated to the fringes. The monthly gig that birthed a mega annual concert became a nightmare for their businesses and fortunes.

It’s almost like the classic tale of the camel in the tent.

The big boys with Naira from the West unapologetically forced their way into East Africa’s premier market. They had the money, the swag, and the attitude to show for it.

Pundits say the spark for this change came from a little-known company that set up shop in Kenya named MTech. With it came the enterprising mind of Arthur Ikechukwu Anoke, popularly known as Ike.

He kicked off the storm with a social event dubbed Naija Night, then unleashed Taurus Music Group, an artist talent promotion stable that signed talented Kenyan stars like Camp Mulla.

“They timed when an artist was at the height of their popularity in Kenya, and that’s how they sold out shows. It was a process, not just an event,” says Patrick Sampao, a publicist and media personality who worked closely with MTech.

Post-2010, Nigerian artists started to come for media tours in Kenya, investing their money to meet media, influencers, and local promoters—a move that caught Kenyan artists by surprise.

“During this period, they came to understand the local dynamics at play, whose pockets needed lining and which palms to oil. DJs were engaged to release Afrobeat mixtapes in the streets and had exclusive music to play in clubs and every possible space. The media, too, was engaged. Later on, it all paid off as they dominated the music scene and recouped their money,” says Sampao.

What West Africa Got Right in the Music Business

“One thing the music entertainment industry in West Africa got right was the structure of the market and the role of each player,” says Eric One Wash of One Wash Promotions, an artist booking agency.

He recently handled Slim Case and Ruger during their visits to Nairobi.

“For artists, they are releasing songs whose sound is doing superbly across the globe. They are packaging the product—the audio and video—to match international levels,” he says.

Eric says his role as an agent is bridging the gap between promoters and artists by negotiating contracts, handling logistics, and ensuring everything goes well for both sides, business-wise.

“Each business group has its own agent or a group of individuals working on different tasks. Some ensure that new music is distributed and gets airplay on mainstream media and by DJs. Others monitor which artists are in demand and when it’s best to bring them over for a show, club appearance, or major concert.

“Most of our business comes with Non-Disclosure Agreements (NDA), so we are tied when it comes to revealing figures. As I said earlier, figures do change from time to time, so the amount you pay now may not be the same next time. Booking agents also have their own special agreements with the artist’s manager, so that too remains a secret,” says Eric when asked about the artists’ rate cards.

All this is done to ensure they get maximum visibility, which creates demand for Afrobeat songs and artists as a product. The investment is recouped mainly through shows.

They push volumes when it comes to work ethic and dominate the charts in the US, UK, and other international markets, pushing consumers to like and want that kind of product. A moving product will always be in high demand.

“Each artist has his own rate card, which determines the components of the contracts and the rider that accompanies it. An artist’s rate card may change due to several factors, like winning an international accolade, which would see his rate go up,” says Eric.

Why Afrobeat Keeps Growing

Daniel Tunde, Director of Communications at Addictive Limited, an outfit associated with all things West Africa in Nairobi, including the recently held Raha Fest, shares insights on Afrobeat’s growth.

Ruger was the headliner in July’s edition, following performances by the likes of Davido, Iyanya, King Promise, Zeman Music, and other entertainers.

“The Afrobeat genre has maintained its originality, common across the West African coast. It originates from the Highlife Sound, a mid-tempo genre from the 60s and 70s. This uniqueness has enabled it to take over the African market and the world. Behind the scenes is a team of people who invest heavily in the brands and products,” he says.

“Before an artist releases their music, the team comes up with a rollout plan—a strategic plan focused on marketing and public relations aimed at creating buzz. There is an investment not just in money but also in audiences,” he says.

While Kenyan acts might release their music and reach out to a few selected individuals to help spread their products and brands, Nigerian acts put a personal touch on every engagement by reaching out to radio presenters and TV hosts directly.

“Nigerian entertainment brands invest heavily in promotion, attracting big spenders like Empire, Sony, and Warner, who are sure to get their money back. The investment in marketing an album averages KSh 25.8 million (USD 200,000), with a fifth of that allocated to East Africa. For example, in April, we had at least three billboards in Nairobi, Dar, and Kampala promoting Davido’s album,” says Tunde.

Bringing Davido for a concert in Nairobi runs north of KSh 10 million. His countrymate Burna Boy would cost the same, if not more.

Tunde says that, like any business, showbiz has its ups and downs. He emphasizes that many people in it are doing legitimate business, contrary to a growing belief that Nigerian music is funded through ‘underground money’ and ‘supernatural forces.’

Big Investments in the Music Industry

“The music industry in Nigeria has seen an influx of investment from US-based major labels, with Universal Music, Sony Music, and Empire among the big players who see Afrobeat as the proverbial golden goose. Burna Boy, for instance, has the highest number of subscribers in Africa (over 16 million) on Apple Music’s Spotify, generating significant revenue,” says Tunde.

One of the biggest labels in Nigeria is Mavin Records, owned by Don Jazzy.

In 2019, to attract capital, Mavin Records secured a KSh 648 million (USD 5 million) investment from Kupanda Holdings.

This entity was created as a joint venture involving Kupanda Capital, a private investment firm focusing on Africa, and TPG Growth, a growth equity investor that is part of the renowned US private equity firm TPG. Analysts estimated the company’s valuation to be between USD 150 million and USD 200 million late last year.

In February this year, Universal Music Group disclosed that it had reached an agreement to acquire a majority interest in Mavin.

“One builds a brand and doesn’t profit initially, but once it has proof of concept and is nurtured into a big brand, sponsorships and ticket sales help make the business work. There’s no such thing as wash wash money in this,” says Tunde.

The truth is that Afrobeat has found a launching pad in East Africa, where many publicists are now helping both upcoming and established musicians gain momentum before spreading their influence across Africa and Europe.

Anyiko PR, a creative publicist company run by media personality Anyiko Owoko, has been at the forefront in highlighting musicians’ developments across East, West, and South Africa.

Three weeks ago, the company spearheaded the media visibility of Rebel Queen, Yemi Alade’s monumental tenth project, to great success.

The publicist has her eyes fixed on the West, with many recording stables trusting her for East African business.

She also pushes homegrown talents like former Sauti Sol members in their solo ventures, such as Chimano’s new project Do You Remember, as well as Ndegz’s debut album Mr Bull.

“As a publicist, I have had the opportunity to work closely with Nigerian music promoters and artists. It has been an enlightening and inspiring experience,” says Gloria Adhiambo, an artist publicist.

“Nigerian promoters display a high level of professionalism and strategic acumen that sets them apart from their Kenyan counterparts. They excel in meticulous planning, ensuring that every media engagement and social media campaign is flawlessly executed to maximize reach and impact,” she says.

Gloria adds that what sets Nigerian music teams apart is their innovative approach to promotion. They blend traditional and digital media, creating a strong online presence that resonates with youth and Gen Z audiences.