Kenyan music producer and artist Morris Kobia, better known as Motif Di Don during the interview in Nairobi on October 21, 2025.
Introduce yourself to readers who may not know you
My name is Motif Di Don, I’m a Kenyan-based music producer,deejay, and music influencer.
When did you first realise you wanted to become a music producer?
It all started when I was in campus studying Bachelor of Commerce at the University of Nairobi. I wanted something to do on the side, so I began learning how to make beats. People started liking what I was creating, and that’s how I ended up being a producer.
How was your early journey like — how long before your first breakthrough?
Luckily, the first artiste I ever worked with was Khaligraph Jones. That really gave me a head start because I had already been learning for about four years before I even became a serious producer.
Kenyan music producer and artist Morris Kobia, better known as Motif Di Don during the interview in Nairobi on October 21, 2025.
What would you say was your breakthrough moment?
I started off doing hip-hop for four years. But when I switched to Kenyan sounds, the gengetone and Afrobeat wave, that’s when I realised there was actual money in music. Hip-hop clients didn’t always have the budget, but when I started doing Afrobeats, that’s when things picked up financially. That was around 2017.
Many people believe music in Kenya doesn’t really pay. What’s your take?
Music is a job. But like any other job, you need to be smart about it. You can’t rely only on producing or recording. You have to diversify, find other streams of income, or you’ll struggle.
Roughly, how much does it cost to produce a quality song today?
It depends, but I’d say anywhere from Sh30,000 to Sh100,000; depending on who you’re working with. Sometimes I even produce for free, if the artiste has talent but can’t afford the fee. In that case, we sign a split sheet and agree to share the royalties once the song blows up.
Kenyan music producer and artist Morris Kobia, better known as Motif Di Don during the interview in Nairobi on October 21, 2025.
Artistes often talk about financial struggles. Is it the same for producers?
It’s actually worse for most producers. Many don’t know how to make money beyond the studio. Once you make a hit song for an artiste, they move on to another producer, maybe a bigger name, and you’re left behind. Some producers even fall into depression. You really have to plan and be business-minded to survive.
Banks are now allowing musicians to use their work as collateral for loans. What do you think of that development?
It’s a big step for Kenya. In the US, this already happens, your masters and intellectual property can actually get you funding. Here, banks still struggle to see the value of a song. They can’t equate how much a hit is worth. It’s like wind to them, something they can’t touch. But once banks start understanding that value, it’ll open doors. Artistes and producers will finally be able to access credit like everyone else.
How do you personally stay afloat when music income is inconsistent?
You have to diversify. During COVID-19, most artistes went broke because there were no shows or gigs. Only those with other businesses survived. I decided to work with corporates and brands, doing ads and partnerships. That’s money that can sustain you for months. I also started my own projects like Elev8 to keep things moving.
Tell us more about Elev8.
Elev8 started in 2021. I realised there were so many talented up-and-coming artistes who couldn’t afford studio time, and producers were ignoring them. So, I began recording them for free, shooting small visualisers, posting their work online, and just seeing who could make it. It takes a lot of time and money, but it’s worth it. That’s where NCBA came in, they supported me by helping with studio time and video production. It’s about giving up-and-coming artistes a shot.
Kenyan music producer and artist Morris Kobia, better known as Motif Di Don during the interview in Nairobi on October 21, 2025.
What’s the biggest financial lesson you’ve learnt in your career?
The 2020 pandemic taught me everything. When gengetone went down, a lot of artistes went broke because they hadn’t invested. You can be big today and forgotten tomorrow. That’s why you need other sources of income, because your voice, fame, or hype won’t last forever.
How do you choose the artistes you work with?
Number one is attitude. You have to be hungry, a go-getter. I’ve seen artistes with talent but no drive. I’d rather work with someone who’s determined than someone lazy with potential. Hard work comes first, then talent follows.
What do you do when you hit a creative block?
I’ve learnt to respect that moment. You can come to the studio for two days straight and nothing works. Don’t force it. That’s how people end up using drugs to “stay creative,” but it only ruins you. Take a break, reset, and come back stronger.
Which project has pushed you the hardest as a producer?
Honestly, there are too many to pick from. I don’t think I’ve reached that one project yet that defines me. Maybe when I have a hit that crosses Africa then I’ll say I’ve made it. That’s what I’m chasing next.
What kind of sound are you experimenting with lately?
I’m working on urbantone, riddims, and collaborations with some international artistes, plus a few local ones. I’m always trying to evolve my sound.
Fans often link success with flashy lifestyles. Is that your thing?
Personally, I’m low-key. But sometimes showing off is part of the strategy. Look at Diamond, when he lands in Kenya in a private jet, he’s not just bragging; he’s making a statement: “You can’t afford me.” For some, it’s an image game. But others fake it and can’t maintain it. For me, if you can afford it, it’s not flash, it’s an investment.
What keeps you awake at night?
The business side of things. Creativity is natural, it comes when it wants. But running the business, planning, diversifying, that’s what keeps me up.
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