Ever wondered who's pulling the strings behind Nyashinski's epic career? Enter Fakii Liwali - the mastermind who's been keeping the Kenyan music star winning! And trust, he's not just any regular manager – he has got film producer credits that'll make your CV shake!
Plot twist: Fakii didn't even plan to be in the entertainment game! He went from corporate hallways to music highways, and the story of how he got there? Straight flames!
From managing rap crews back in the day to cooking up some of the illest brand campaigns you've seen, Fakii's is ‘that guy’ in the industry. The best part? He's finally spilling ALL the tea!
In this exclusive, he's breaking down everything - from juggling the business side with creative vibes, to how he keeps Nyashinski constantly trending. If you've ever dreamed of making it big in the music industry, you're gonna want to take notes on this one!
Because real talk? Managing Kenya's GOAT isn't just about vibing to hits - it's about making power moves behind the scenes.
1. You have built an impressive career in media, marketing, and corporate leadership. What inspired your journey into this space?
It actually was not by design. I was enrolled at Strathmore in 1996 (yes I am that old) to study accounting (CPA), but at some point, I had to pause my classes. This was a time when the urban Kenyan music scene was bubbling, entertainment was being heavily propelled by radio and after the first (public) FM station (Metro FM) was launched and Capital FM in September 1996. My elder (late) sister introduced me to urban music magazines (The Source and Vibe) and I fell in love with the music industry.
We tried to do a Kenyan version of such a magazine; I was the guy tasked with reaching out to music industry players for interviews, and the more I spoke to them, the more I wanted to be in the industry.
Following in David Muriithi’s footsteps, I ended up first managing a rap group called MGC, then Wyre, before I got a job at HomeBoyz as an events intern then coordinator then manager.
Meeting David Muriithi in 1998 – I learnt so much from him about the then-bubbling music industry and the business of a manager.
Always take up opportunities to learn. Ask! – a closed mouth doesn’t get fed. As we say in Kiswahili, jitume.
Getting creatives to have an interest in and understanding the business. They don’t have to soak up everything (not that I myself know everything) but at least understand that what they do has to make SENSE AND CENTS.
5. If you could go back to the start of your career, what advice would you give your younger self?
That basketball and fitness concepts you had - don’t overthink it. Just start slowly and keep pushing. But do it.
6. Media and marketing have evolved significantly over the years. How have you adapted to these changes?
Continuous learning from peers in the industry, and similar industries in other markets. I dig into reports, data, stories, etc. I’m the guy who always wants to know WHY (what is their motivation, or what are they hoping to achieve) when I see people in the industry making certain moves, then I follow. For example, when I first read that the artistes who perform at the half-time live don’t get paid, I dug deep to find out why – what value do they get.
7. What do you think Kenyan brands are getting right—or wrong—when it comes to marketing and entertainment?
Right: Listening to culture and getting involved in it, through sponsorships and creating assets around passion points of their consumers (music, sports, etc).
Wrong: Some are bullies (and unfortunately, we allow them to some extent) in that they focus so much on their objectives that ours don’t matter.
8. You have been involved in impactful projects and campaigns. Which one are you most proud of and why?
In 2006 when Kenya had a major drought and people were going hungry, the entertainment industry came together, headed by a group I was part of the founding team, called Pamoja; we created and executed a huge campaign called Jaza Lorry where we held a huge concert at Nyayo Stadium where entry was a at least 1 packet of unga – we filled truckloads and truckloads with flour, and distributed it across the country to hunger-stricken areas.
In 2001, Myke Rabar and I (as HomeBoyz) put together, pitched and secured what I believe was the first-ever endorsement deal in urban entertainment in Kenya where as HomeBoyz we were Sprite brand ambassadors.
In 2006, the late Lorna Irungu, DJ Pinye and I put together what I believe was the first product placement music project, with Motorola and 7 artistes: Pam (SEMA), Karma, Wyre, Nyashinski, Nameless, Abbas and Juacali.
9. In your opinion, what makes a brand or artist truly stand out in today’s digital era?
Connection! Connecting with the audience. Steve Stoute, a long-time music manager in the US who I follow and admire recently said something so profound; “Talent and Fame were once friends, then became arch enemies. It became so bad that at some point Fame didn’t think it needed Talent. (with time though) Anonymity is going to be the new Fame.” People will be wowed by moves and achievements made by people they don’t even know, because they will have connected!
10. Nyashinski is one of the biggest names in Kenyan music. How did your working relationship begin?
In my first job in entertainment when I worked at HomeBoyz, I got connected to Ogopa DJs. I started just advising them based on what I studied about the US music industry, and with time I became their consultant, doing some bit of A&R (artiste and repertoire), and they then asked me to manage some of their artistes, including Amani and Kleptomaniax (where Nyashinski was a member). We worked well till he left in 2006. When he came back in 2016, we met up, talked, and agreed to work together. In early 2024 I went back to managing him.
11. Managing an artist of his calibre comes with high expectations. What’s the secret to keeping things running smoothly?
Communication. Honesty. Open Mind. We speak a lot. We study scenarios. We have very long conversations where we exchange observations on what’s happening in the industry in Kenya, in Africa, in the world. We are friends too, and we strive to keep our friendship.
He is very strategic, thinks long term and has an amazing sixth sense. Sometimes I say something to him, and he respectfully says no or holds off.
I am lucky to have worked with different artistes. I am currently working with Nyashinski and Sanaipei Tande as a manager, and Nameless and Ogopa DJs as a consultant who understands the business and what needs to be done. It makes the balance so much easier. Even when we don’t initially agree, the conversations are pleasant, it’s learning, and we find a middle ground. We balance.
14. What do you consider Nyashinski’s biggest brand strength, and how do you maintain and grow it?
His focus for sure. This focus translates from his talent to his work ethic, to his principles and his standards. I work hard to create an enabling environment for him to prosper.
Find an artiste who is respectful, to themselves and to others, and has a positive attitude.
16. How do you approach brand partnerships and endorsements for Nyashinski to ensure they align with his image?
We say no to deals that are just not him because it will show in delivery. His brand is not a loud, everyday posting on the social media type of brand; we can’t take on a deal that requires him to post as frequently – it’s just not him.
When you watch his creative process, especially from an idea to execution or when you see or hear him describe a vision to the team, and how initially it seems far-fetched, then you watch it come together.
Three things; I want to retire actively in Film and TV (Content) Production, manage a Music Business (Recording, Publishing and Distribution) and have an annual Event Experience (currently in curation).
To have created templates, blueprints, shared knowledge and experiences publicly, so that those after me, after us, can use that to make their paths to success easier.
