DJ Slahver: This is what it is like to manage top celebrities

Slahver Lwangu Kinangoi, better known as DJ Slahver, is not just a DJ, he is also a skilled publicist and talent manager who has collaborated with top figures in the entertainment industry, locally and internationally. In this interview, Slahver discusses the challenges he has faced in his 18-year career and shares insights on common mistakes artists make when working with managers and publicists.
 
1. As one of the prominent artist managers in Kenya, can you name some of the artists you’ve collaborated with?
I've worked with so many top celebrities in Africa. I have engaged with all Wasafi signees including those who have left like Harmonize and Rich Mavoko, and with most Tanzanian artists. I've also worked with DJs like Romy Jones. From Nigeria I've worked with Jay Martins, Rude Boy, Patoranking and also some South African artists. Most people who call themselves publicists are not, they are just trying to make money. To be a publicist, you have to be well-connected. This is my 18th year in the game.
 
2. You have worked with Nameless and Wahu for long, how did you meet?
I first met Wahu when I was working at K24 in 2011. She was the head of features and I was a correspondent there. I was a street artist and I knew the DJ who used to make some mixes because I was among them, so I helped Wahu to push her song Sweet Love and the rest is history. We created our relationship and she later introduced me to her husband, Nameless. I am the couple’s tour manager and a stock DJ, so any time Nameless or Wahu is on stage, you'll see me there.

3. How do you maintain a lasting work relationship with various celebrities?
I manage different characters differently. For example, a character like Vera and one like Nameless are very different. So, you have to understand them. That's where experience comes in. When I'm pitching for Vera I have to consider her targets, preferences and all that. If Nameless wants to release a video, we have to figure out how to make sure it doesn't get leaked. You need to know how to target the different brands and the target audience.

I had a very hard time managing my ex-lover, gospel artiste Niqah The Queen because there were times when I had to be strict with her, but when you do that you sometimes find that she prefers to get an opinion from an outsider.

4. What is the biggest mistake artists make when working with managers and publicists?
Most don't differentiate between a manager and a publicist. They have different types of managers, so if you ask them who is your manager they will refer you to a publicist or agent or even stylist. That's what they know. In some cases, an artist may ask their publicist for help with a project, yet that is the job of a manager. You can't talk to a publicist if money is not involved, because publicists don't even want to know how much you will make. A publicist’s job is to manage your figure in public and blow up your brand.

5. What reservations do you have when choosing an artist to work with?
Managers sacrifice a lot for artists, including looking for jobs. Artists have to sit and create, but they have to work with the managers. I would say managers are the ones who build an artist. Sometimes artists feel entitled and want to get a huge share of proceeds from projects. Some artists are also very arrogant. I avoid working with dramatic artists. I found the Gengetone musicians hard for me to work with. I avoid drama at all costs.

There was a time an artist came to my house at night asking me to give him back his money. I was pushing him and at the same time, I was working with Nandy. Her song did better and he felt like I had not done enough. He had a good idea but the way he executed the song, did not work well. In this industry, you have to know how to handle such challenges, which is not easy.