Country Profile: Kenya

Kenya’s live music scene is a mosaic of defiance and doggedness, framed by pushbacks that evoke creativity. The country’s affinity for live music is palpable, yet it faces hurdles that have shaped the market into a distinctively DIY culture.

“We lack purpose-built venues that can host capacities of over 2,000. So everyone has to start getting creative,” says Rizwan Ibrahim of Kenya Nights.

Venues like The Alchemist in Nairobi stand out, but they are the exception rather than the rule. Ibrahim says concerts often require promoters to create their own venues, bringing in sound systems, lighting, and power. Carnivore Grounds, once capable of hosting up to 10,000 people, is now a shadow of its former self due to government construction that reduced available space. Another challenge is the bureaucracy and regulations that promoters must navigate.

Ibrahim cites dealing with numerous permits and the ever-looming threat of authorities shutting down events over technicalities. “It’s tricky because if you don’t have the right permits or miss one little thing, your event could be cancelled at the last minute.”

“The middle and upper classes are growing, and so is spending power.”

 

Yet, these hurdles haven’t diminished people’s appetite for live music. “The middle and upper classes are growing, and so is spending power. People will pay KES5,000 for a show, but it has to be worth it,” Ibrahim explains.

For him, the goal is not just to capitalise on this trend but to create memorable experiences that resonate with people long after the music stops. “We’re not just about making money. It’s about giving people an experience that makes them feel like they’re getting value for what they’re paying.”

Audience preferences also play a key role. Afro house, heavily influenced by South Africa, currently dominates Kenya’s music scene. “If there’s no Afro house DJ at your event, you’re killing yourself,” Ibrahim jokes.

While international acts can draw crowds, local tastes are complex, and promoters must be strategic when booking artists. “Even when you book an international act, people still expect local flavour. We recently had Bien from Sauti Sol creating more hype than Rema for the same show,” he says.

“It’s important to show interest in the people, the culture, and the vibe”

“You can bring in international stars, but if they don’t have a strong local following or radio play, it’s a gamble. You need that blend of international and local acts to pull in the crowd.”

Having promoted Major Lazer, Walshy Fire, and Diplo, Ibrahim has helped boost the country’s live profile, with Kenya Nights pulling off “one of the biggest electronic-music- related shows in Kenya,” with a crowd of over 8,000 people showing up for Major Lazer.

“We wanted to give people an experience that showed we could handle events at an international standard,” he says. “Diplo came in 2017, but our biggest coup was the Major Lazer Soundsystem show in 2018. We even helped facilitate their Africa tour to countries like Uganda and Malawi.”

Rather than treating Kenya as just another stop on a global tour, Ibrahim encourages artists to truly connect with the local scene. “We’ve had Major Lazer here a few times, and Diplo himself has shown a lot of interest in our culture.

“You can bring in international stars, but if they don’t have a strong local following or radio play, it’s a gamble.”

They engaged with the local community, spoke some Swahili, which helped drive excitement,” he says. This cultural immersion, he believes, is key for international acts looking to build a foothold in Kenya. “It’s important to show interest in the people, the culture, and the vibe,” he says.

While Afro house is currently the biggest genre in Kenya, reggae remains a longstanding favourite. However, promoting reggae events comes with its own unique challenges. “We have what we call the ‘reggae mafia’ – if you’re organising a reggae show, you have to go through certain people. It’s just not worth it sometimes,” Ibrahim says.

Looking ahead, the future of Kenya’s live music scene feels promising. “There’s a craving for live music, and in the next few years, I think we’ll see more platforms and events like Blankets & Wine [the pan-African international music festival featuring African artists] pushing for that,” Ibrahim concludes.

Other key promoters in Kenya working with international acts include festival organiser Blankets & Wine and Math House.