With 28 years in the music business, Eric Musyoka has witnessed the evolution of Kenya's music scene from the analogue days of the late 1990s to today's digital streaming era.
From humble beginnings, practising drums near the Machakos Show grounds and forming the rap group NaNoma as a teenager, to interning at Bad Boy Records and eventually establishing Decimal Records in 2009, Musyoka shares his journey that reflects the growth of East African music itself.
Do you consider yourself famous?
Well, I guess I am. I could be walking down the streets, and someone shouts my name. You get used to it over time. It's a humbling experience every time people recognise me, which just shows the power and influence of what we do. It's been 28 years doing this!
Your discography speaks for itself. Do you consider yourself a legend?
That's humbling to hear, but you can't blow your own trumpet? Or can you?
Is music everything you have ever done?
All my life. Yes! I am from a musical family; my father a guitarist who inspired me to it. I started playing drums at the age of 10. We used to live next to the Machakos Show ground, so I would listen to the bands playing and do the same with the drums. In 1994, we moved to Nairobi, then my parents plugged me into a group of schools, Riara, and there I found a music studio called Sub-Sahara, where I learnt to play keyboard and other musical instruments. From there, my curiosity about music grew exponentially.
Legendary Kenyan producer Eric Musyoka aka Musyox, during an interview at his studio along Kiambu Road in Nairobi on February 27, 2024.
Photo credit: Wilfred Nyangaresi | Nation
She didn't buy the whole idea of me going into music. It didn't make sense to her, then, as it does now. We actually had a cold war that lasted four years just because I had become a rapper. I had joined Lenana High School in 1997, met the late K-rupt, and formed a rap group NaNoma; we were five of us. Within a year, we landed a recording deal. I thought it was good news, but not to my mother's ears. I was a teenager insisting on doing music, so I came across as a rebellious child. But I understand her concern. Back then, there were no case studies of successful musicians that a parent could point out.
I'm convinced beyond doubt that my mother can attest that I wasn't a problematic child, but I fought my way to have the freedom to do what I love, and I am glad it paid off.
Clearly, you did torment her
She was worried. I had been recording music since that year 1997, and when the time to sit for KCSE came she was even more worried because I wasn't the brightest kid in class. And here I was preoccupying myself with other things instead of focusing on school. She had big dreams for me, just like any parent.
How well did you perform in school?
I was an average student, I wasn't the brightest, neither was I the dumbest.
The 1997 record deal you mentioned, what were the terms like back then?
So what was it in for you then?
Nothing, we just wanted to be famous rappers. Remember, we were teenagers then.
How was the Kenyan music scene back then?
Well, there was no internet and all that. Radio stations were the main thing that shaped the agenda of the music industry. If I remember correctly, there were only three top music presenters at the time, and that was Jimmy Gathu, Fred Obachi Machoka, and Shadrack Musyoka Wa Kaleli.
Back then and now, where did most music money come from?
Performance gigs generated more revenue for the artiste back then. A majority of DSPs (Digital Service Providers) had not entered the market and the revenue wasn't as much from the few that were there. With the digital age, there are now more than enough DSPs and PRSPs (Premium Rate Service Providers) something that has significantly increased revenues from streams. So, you have both streams and shows generating you some siginificant amount of money. There is also the aspect of licensing, brand collaborations and endorsements
What aspect of music production has changed over time?
Nowadays, people go on YouTube and learn how to make music using all these software and tools. You can nowadays read on how to make music. My advantage is that I learnt to make music from just listening. In our day, you had to have it in you to become a good producer. And that meant trusting your senses and judgement. That's why there were never many producers back then, and those who were there created masterpieces. Throughout this process, I created hits for Ukoo Fulani and many artistes of yesteryear. And this is what I teach whenever I am having master classes, the creative aspect of bringing a song to life from a vision.
Did you ever meet Sean 'Diddy' when you interned at Bad Boys Records?
Well, it's not like he was there to interact with everybody, but we could see him once in a while. The label is big with different departments and heads. But what I appreciate is the vital lessons I learned on how to manage and run a label.
Why do Kenyan Record labels struggle to stay afloat?
The main reason is a lack of finances. Labels are not easy to run, they are expensive! Think scouting and investing in talent, promotions, marketing. All these require money, and if the rate of return is slow, you will end up folding that label. Also, some people start labels without a proper strategy and know-how on positioning themselves for the long term and the benefits of returns. Even if they have resources, with a lack of a clear strategy you are bound to fail. There is also a lack of experience within our industry.
What are some of the successful records in Africa that are top of your mind?
I will start with Galo Records from South Africa. It's the longest-running independent record label in Africa, formed in the 1940s. It was instrumental in pushing African content, talents like the late Lucky Dube, Hugh Masekela were signed to Galo. In Kenya, we have Sol Generation, Decimal, which I own. We have been in existence since 2009. There is Inovater, owned by Tim Rimbui, and RainMaker by Eric Wainaina. These are some of the labels that have been here for a while. Ogopa also still exists. They own a very big catalogue that they license to this day. They might not be releasing music and managing artistes, but they continue to generate revenues from licensing of their catalogue. Calif Records is still around, Jua Cali still releases content through the label. In Tanzania, we have Wasafi, Master Jay Records, and P Funk Majani. In Nigeria, there are Mavin Records, Chocolate City. These are proper labels operating and generating revenue.
