In the early 2000s, the girl band Tatuu graced our airwaves with their peppy music and stage performances.
The trio, comprising Angela Ndambuki, Angela Mwandada and Debbie Asila, were well known for the hit song Teso .
As they mark their 20 years in music, one of the girls, Angela Ndambuki, has been elected the first female chairperson of the Kenya Association of Music Producers (KAMP).
Ms Ndambuki, a lawyer by profession, has been vibrant in pushing the formulation of policies around music.
I’ve always loved music, since childhood. I have fond memories of my elder sister coming home and teaching me all the songs she learnt in school. Thereafter, growing up in school, I was always drawn to forming music groups and took part in music festivals as well.
While at Loreto High School, Limuru, I was elected the school music captain. After school, I joined Phoenix Players and took part in various musicals and eventually formed Tattuu.
Your appointment as the regional director of the International Federation of the Phonographic Industry for Sub-Saharan Africa.
In July 2020, I was appointed by IFPI as the regional director for Sub-Saharan Africa. It was an exciting challenge for me because I was tasked with establishing the regional office and leading the recorded music industry’s Sub-Saharan Africa efforts towards improving legislative and policy frameworks, developing industry infrastructure, and increasing revenues.
We have made some major strides in streamlining the industry in the region, with a key focus on the major markets including Nigeria, Ghana, Kenya, South Africa, Tanzania, Uganda, and Botswana. We closely work with regulators and collective management organisations in these countries to improve the collection and distribution of royalties.
We partner with Sub-Saharan African governments to improve policies and legislation around copyright and related rights, including online content protection and enforcement. We are currently organising the first Sub-Saharan Africa High-Level Neighbouring Rights Conference in Nairobi this coming March.
Your recent election as the first female chairperson of the Kenya Association of Music Producers (KAMP).
I’m humbled that KAMP elected me to serve as its first female chairperson. I pass my congratulations to the other three female directors — Suzanne Gachukia-Opembe, Faith Kithele and Monica Kibayu, who were elected to serve on the KAMP board.
I have committed to work with the government and all stakeholders to improve collective management processes, systems, and internal policies, enhance compliance from recorded music users, and most importantly distribute royalties to the members.
Indeed, the industry has really evolved over the past 20 years, due to a myriad of factors, but most importantly – the digital space and music consumption, being primarily digital.
This has delivered great opportunities but also has had its share of challenges. In terms of opportunities and growth of the industry, Kenyan artists now have a wider audience. Borders and territories have become porous in terms of recorded music consumption.
In 2021, according to the IFPI Global Music Report released in March 2022, the global recorded music industry was worth $25.9 billion with Sub-Saharan Africa registering growth of 9.6 per cent, a growth primarily driven by ad-supported streaming which rose by 56.4 per cent.
Yet, a big challenge in Kenya and the region is online piracy which has become a menace to rights holders. We need to strengthen the law.
It is not just hard work, upcoming artists must work smart – that is to say, they must channel their energies in their passion, understand their environment, network, be ready to learn and lean on others for support.
There are many opportunities out here for upcoming artists; in the digital age, it shouldn’t be difficult for them to find these opportunities. Working smart means knowing when to use less energy to get even greater results.
What’s important is to build a competent team around you, do not be a one-man show, and invest in your art as a business. Leverage social media and other emerging technologies and distribution models such as Tiktok, Boomplay, and Spotify, among others.
Brand yourself properly and use your brand to springboard to other ventures. We see a lot of this with international artists and brands like Rihanna’s Fenty. Ultimately, consistency and discipline count.
It’s difficult to pinpoint a particular role model because I have been influenced by quite a few people. What strikes out the most however is my mum, who put in the time, effort and passion in her work and always produced excellent results. I’ve always strived to live by the same mantra.
Hee hee, never say die! We have discussed with both Shinde and Debbie a possible comeback so there is a possibility. I love music and I can never totally rule out a song in the near future.
I’m currently focusing on my work at the IFPI as I have an opportunity to impact the recording industry at a regional level. As the first Regional Director of IFPI in the region, I have been heavily inspired by tremendous efforts by recorded music stakeholders towards changing the music landscape in the region, despite the unique challenges that we collectively have to deal with on a daily basis.
I am proud of the work we have accomplished so far and even more excited about what the future has in store. IFPI has a great, long-term agenda for the region and we are committed to implementing it to ensure the recorded music business achieves its real potential.
