And there you have it, some I think we have.
We've cracked the. Code, Well, in our own way,
we've, we've, we've tried, I think we've cracked the code.
We've cracked the code, given away the sauce for free.
Yo, what's up? And welcome to episode 98 of the
30% Podcast hosted by yours truly, Afamefuna, and my
amazing, amazing partner in crime.
He is the Bunny to my client. All right.
OK, I don't know. I wouldn't refer to.
Sometimes. Sometimes I just go off the
rails, I don't know. Refer to myself as the Bunny to
your client, my guy. I wouldn't do that.
What's up, man? It's some it's some What's up?
Say what's up to all your yo. And the third entity that needs
to be introduced is you guys. You guys are the glue.
Facts. You are the gel that makes this
podcast a podcast. So shout out to you guys.
Yeah, yeah. And yo, I hope you guys have
been OK. I hope your weeks have been
fulfilling. I hope your days are going well.
Sam, how have you been? I've been man, I've been
alright. I've been cool, I've been chill.
I've been decent for the most part.
Yeah, not, not, not anything much.
Just been working, making some some slaps some slaps.
Hey, making some slapper, Rooney.
Some slapper Rooney and plotting plotting world domination and.
Oh for real bro? Yeah, that's that's, that's been
it, man. I'm trying to see if there's
anything interesting that occurred in my life.
I really need to do more, bro. Like this is getting sad at this
point. But if anything goes to mind,
I'll say. But then I really just had the
most basic work field week get into the back.
It'd be like that sometimes. It'd be like, it's been like
that for a long time. Oh, you've been.
What have you been up to? I've been good moved to a new
place, which I did mention in the last podcast.
That was literally the last time we recorded.
I was lit. I hadn't even been in this in
this space for like an hour. Like I literally just moved in
here and. But.
Yeah. So now I've had like a little
bit of like time to it's what's been six days now.
Yeah. So, yeah, getting used to this
new environment. I've been good.
This week. I had a studio session with an
artist I met actually like at A at a networking event.
And they were like, yo, you know, we said we wanted to work
together. I have this studio session.
Do you want to come like produce engineer?
And I was like, yeah, sure. And yeah, so that happened.
That happened on Friday. That was fun when to record at
pirate.com, they have this like building and then it has like
multiple like rooms essentially just like mini studios.
And it's such a dope concept. Actually.
Somebody needs to pull that off like back home.
I think it's really sick and the prices are not too crazy.
So really like helps, but it's a it's a big investment because
you have to like essentially invest in studio equipment for
God knows how many studios and I think they're like, I don't
know, you might have to be like 14.
I think we've tried in there. Each room has like 2 monitors
has a MIDI has the focus right DI box or audio interface.
Sorry. And then obviously microphone,
headphones, yeah, actually it's a big investment, but I think
it's nice. Anyway, we recorded a bunch of
like so he's called Chad and he's originally from Jamaica,
but he's. What did you just say, Jamaica
for a while? Did you do the accent?
I don't know that was that racist.
I'm sorry. I didn't mean to like be like, I
don't. I just wanted to say it like
that. Oh my God.
It's fine, sorry. Yeah, thanks for calling me out
and. Making it always the body you
played. Oh my God.
Anyway, yeah. So that was my week.
Other than that, yeah, I haven't done haven't done anything of
note at least. Oh, I forgot, yeah, I forgot
sound. I forgot I and this is not even
for self promote, but then I really enjoy like remix and
stuff and one of my favorite artists called Andy Mineo
dropped remix pack of us like a freestyle he did.
So I had like a lot of fun with that one.
No, my see, it has just triggered the hunger in me now
to just remix everything under the sun.
So if you never know, I don't want to do self promo, but yeah.
I love how certain things just trigger you into like, creative,
Yeah, like vibe. Crazy.
For me it's just listening to and hyper fixating to back in
office by Odunsi. Now I just that's all I want to
do. Some I just want to make.
You've entered a new phase. You've entered a new phase.
Yep, Yep, Yep, Yep. Yeah.
That's, that's what I'm going to do anyway.
Listen, yeah. Anyway, I, I, I just love being
an artist because like, it's just, it's small things like
just to be like they open up your mind and it's like, yeah,
Yep. Yeah.
This is. This is what it is, life.
Yes, Sir, man. So Sam had a very interesting
conversation with my dad. So my dad listens to this
podcast and we'll just talk about last podcast where we kind
of touched on the topic with Steph Capella, You know, and he
was just kind of talking about like Rama being in the country
and you know, how international acts get paid significantly way
more than Kenyan artists. And prior to that, he's also
talked about how international acts kind of, you know, they,
for lack of a better word, use, but that's not what it is.
But they use our industry as a stepping stone essentially.
And that leaves a lot of our local artists in the dust.
And anyway, that's a whole conversation, but it did lead
some and I into a rabbit hole and it left us wondering.
Actually, some posited this question like a few weeks ago,
but this was in pre production, I believe.
Was it in pre production or was it in an actual podcast?
Oh my God, time the question of like, how do we make Kenyan
artists international it. Was pre production trying to
figure it out? I think it was pre production.
Sometimes the lines blur between what's happening.
This is the way we do, we do, we do things.
It makes it difficult to know what's the podcast and what.
I know, I know, but maybe if we had pre production like a day
before the actual podcast would be able to like delineate, but
that would be so much worse. Yeah.
Anyway, in Ignore the Podcast Politics we went down a rabbit
hole and we wanted to answer the question how or what steps
should we take in order to make international acts out of our
Kenyan artists? Or local acts.
And. Like the tangible?
The question. Yeah, the tangible.
I need you doubt. Actual steps, Sorry, no, the
tangible actual, actual steps because we've, we've, we've,
there's a lot of talk about it, right?
And we've discussed and we know that something needs to be done.
But then, and we had said it last week on the last podcast in
that we actually need to get out there and do the things that
would make put us in those positions for us to that raise
the value of Kenyan Axe and they can be earning more in all the
business. So now that's a deep dive went
into is what are the what are the actual steps and things like
that the artists currently need in this region to get there.
So yeah. So, Sam, I need you to tell the
people, give the, give them the answer.
What's the answer, Sam? Money.
The Mafia. Oh yeah, money is a big.
Oh, yeah, yeah, money. Money is the underlining for all
of this. But I mean, there's a couple of
things. There's a couple of things.
So it's just first looking at what does an artist need to do
in order to expand? Because what we're talking about
is just expanding your reach, taking yourself from having,
increasing your fan base, increasing the number of eyes
and ears on you. We're talking about music.
So it's ears then. Yeah.
And then getting you getting the artists ingrained in, I don't
know if we can get it right, but then getting the artists into
other conversations and other cultures like cross, almost like
a cross cultural creativity art type of.
Experience, yes. So I mean, we could just run, we
could what do we run through some of the different things
that we found out. Yeah, sure.
And maybe we could tackle like OK Does, would you say Kenya
right now has international acts, which let me answer my own
question. I would say yes, but I feel like
everything is still at, it's like budding phases.
So look at the likes of like Sophie and Zhao Nesburu, Aziz,
BN. These are names that you would
say are international acts because they TG black as well
because they exceed our borders per SE.
And there are many other examples.
These are just a few names that are coming to the top of my
head. And for me, I feel like this.
What I have figured out is that there are two kinds of like
international acts per SE. So we have like BN, who has been
a staple in our industry for many, many years.
And so he has organically built up a listening, a listenership
and a following all through the all through the years.
He's, he's also created his sound, modified it, moulded it
into what it is today and has a valid, valid or like he has an
established kind of product that he has been refining all through
the years. And now I feel like he's
beginning to really like, say this is my product and he's
going out there to like market it.
And now because he's already like fine-tuned it using our
industry. Then there's the other there's
the other subset of artists who kind of almost bypass the Kenyan
audience and decide to market themselves outside, and they
also gain very much, or they gain success doing that, or they
achieve success doing that as well.
For example, Sophie and Zhao, whose rise can be looked at as
being very unorthodox. Very unorthodox because not.
The way, yeah, the way exactly. Because the way she blew up
isn't how it's, it's like, it's, it's not like it's very
difficult for other artists to replicate what she did.
But you can see the method of how she did what she did with
artists like Ed Aziz and Nessunburu.
And what method am I talking about?
I'm talking about appealing to like that European like
audience, Western audience that listens to a lot of like dance,
EDM, electronic type of music and then infusing it with their
sound because in truth, it's their sound.
But then just like infusing it with African vocals and stuff
like that. And and it's evident when you go
to, if you go to Sophia and Zhao Nesburus or diseases like
Spotify profiles and look at like the regions that consume
their music, you wouldn't find you.
Wouldn't find Kenya as a number one.
Yeah, yeah, yeah. No, you wouldn't.
Yeah, but they are successful. You can't take away from the
fact that they are successful. So essentially they market
outside because if generally some, if you ask any Kenyan like
if that is the top of their genre list, yes, there will be
Kenyans who say yes. But most Kenyans wouldn't say
like OK, for sure. Like #1 on my list is like the
EDM stuff. Not to say that they are not
supportive of those artists. I'm just kind of saying like
that's just. I mean kind.
Of how it is, and that's fine. It's it's their music.
Is is is for specific times and occasions, like I was saying
earlier, like you wouldn't. I don't even mind.
Again in the middle of his Tuesday morning show would throw
in Mwaki. You know, not that it's it's
it's it's it's bad. But then you just, that's not
what naturally people would gravitate with.
Like that kind of sound is specifically for like parties
and. I mean, they probably did when
it was like popping maybe, but like I'm sure it has like really
like tapered, tapered. Off.
It doesn't stay in that spot. Probably reverted into.
Yeah, they're probably reverted into.
Like the, you know, the more what they usually play their
usual like radio rotation. So I would say those are like
kind of like the two ways in which you can kind of go about
it. But then there's way more,
there's way more. And OK, maybe I'll, maybe I can
just say. Yeah, we could.
Just maybe. We could do like this, like,
yeah, maybe I can just go. I can just say one thing, we can
talk about it, then we can move on to the next point.
So how to make a Kenyan artist an international superstar?
One, obviously you need to focus on the music.
The music has to be good. And in my opinion, Sam, I think
Kenyans make good music. I think it's good enough to
market on the international stage.
Would you agree with me or no? Yes, we do.
We have good music and we have. So the beauty about the Kenyan
space is that it's very versatile and very diverse in
terms of sound. So there's more than one sound
that can make it to the international stage if we if, if
we like focus. But yeah, I, I do agree, I think
we have, we have enough to be able to push.
I agree. And I mean, I feel like that
point is both A+ and sometimes a negative.
So I was reading, I was reading this WIPO, is it WIPO, WIPO
magazine. And this is an article that was
published in what, 2007? So it's a really old article,
but like, it's an article talking about the, the, the
Kenyan music industry and the challenges that it made it is
facing in terms of like, comparing to international
markets. And one specific paragraph like
stood out to me where they said despite its vibrant creativity
and boom in production, the Kenyan music industry is nowhere
near realizing its potential. Nobody knows about Kenyan music,
says Susanna Oweo. And that is because we lack
proper networking in terms of distribution.
Paradoxically, the very diversity of Kenya's music seen
represents a key challenge to developing a sustainable
industry. In particular, it's linguistic
diversity has fragmented the market and made it more
difficult for artists to develop unique and recognizable sounds
that can serve as a currency for access to mainstream global
markets. Do you what do you think about
that statement? Yeah, I mean, it makes, it makes
sense the the the tagline, no one, no nobody knows about
Kenyan music is actually just very, it's a harsh reality, but
it's it's very true. In terms of just exposure, I
think I think for us to get there, it has there has to be a
lot more exposure, a lot more again, cross cultural exposure.
And that comes through networking obviously comes to
networking comes through through being in front of those spaces.
So it makes that it makes it makes sense what what was said
and that that statement again was said by Susanna Wheel, who
is a a staple and she's been around for a minute.
Yeah, very well respected and but.
Yeah. I mean, OK, so how, how do we
get our product to the right spaces?
And I feel like it's a it's a blend of PR and marketing,
right? Like targeted marketing and
targeted PR. And I'm pretty sure Kenyan
artists do this. But I know for a fact that like
when Remma, when Thames, when Ira Star release music, like
they have dedicated like PR packages for Kenya and even East
Africa and different regions were there like, yeah, they're
spending, they're spending money, like a lot of money to to
do PR in like our spaces. And essentially, I think that's
what we need to do whenever our big.
And I'm pretty sure our artists do it, but maybe we just need to
do it in more like we'll need to do more frequently.
Yes, I I guess like where when you're releasing music, it's not
just only targeted for a Kenyan. Blogs A Kenyan, Yeah.
You can, yeah. I think we need to figure out
how to reach out to these PR agencies abroad and they will be
open to working with us because at the end of the day, it's
business. It's it's a money thing, right?
If you if they state a price, yes.
They're, they're gonna do it like they're, they're gonna see
value in, in promoting Kenyan art out.
There and the beauty. So I think we just really need.
To just on that point, the beauty about that is the more
you're, you raise your value in that sense as an artist, you
promote yourself and then you gain like more audiences, the
more people who want to invest in your art.
And so then the money comes like from labels, from whatever brand
deals, whatever it is, the money begins to become more.
So it almost sorts itself out if you do that well kind of deal.
Yeah, I, I agree. I agree, man.
And it's even going the extra step into like, you know,
investing like in digital ads that are like targeted.
Yes, for. These like spaces.
I feel like, to be honest with you, I feel like that's one
thing. That's one thing that a lot of
people neglect is like actually doing like targeted apart from
now, not just the going on Instagram and like doing like
one ad, but then actually going deep into like SEO and trying to
figure out how to get yourself in those spaces in like a very,
very visible way. That's what that's we
underestimated that. I think just because it almost,
well, for me personally, it almost seems like ads are
everywhere. And so we think it's just, it's
not doesn't hold as much weight as maybe it should.
But then that's like a very important part of, of getting
out, getting yourself and your music out there.
Yeah, yeah. Facts, facts man.
And I, I don't know. And I mean, if you look at BN, I
think him and his team do this very well, just like doing PR
and marketing targeted to to these areas.
And specifically, like in Nigeria, I, I feel like Vienna
is making a concerted effort to kind of appeal to their
audience. Yeah, I, I know maybe some
Kenyans would not like this. But like, even in his music, how
he started hoping on more like Afro beats.
How do you feel about that? Do you feel like it's it's
diluting his authenticity or do you think it's this artistic
expression like you can hope on whatever you want to hope?
On Yeah, there's. Or do you think it's just being
calculated? There's there's I think there's
more ways to look at it than one if he is trying to get into more
markets and and becoming an ally of the Nigerian music industry
is a very, very positive thing. You know, So I can see why he
would want to jump on that and have pigeon English on his
hooks. I know that's and sad.
Again, that's what that's what we're saying.
The beginning is getting yourself into that culture.
Now a lot of people could look at that and say, OK, he's, he's
pandering or he's, you know, he's doing too much.
But if it's calculated and it's for a goal, right, And you're
not just like leaching like he's made some good songs.
Again, people locally might not necessarily like it as much, but
he's made some good songs and, and in Nigeria, they're rocking
with it, you know, and outside there.
So it's calculated. It it could be seen as
calculated. It could be seen as purposeful,
but also could be seen as artistic expression.
Maybe that's what he wants to do.
Maybe he's really, I mean, when Ira Star did a a feature with
him, she was, she was doing Swahili on, on the song.
So he goes both ways. Yeah.
It does, it does. And I think that's that's one
thing they do very well. Like in Nigeria, like maybe you
could call it pandering, but like they brought like when it
came to I'm a piano, they saw that stuff and they just really.
They took I'm a piano and to. Like incorporating?
Yeah. Yeah, and put their culture in
it, and they made it theirs uniquely.
For real. They really turned on my piano
into something. They made it pop.
It turned. Out To be honest, purists would
hate. It.
Oh, absolutely. I hate it.
Yeah, it worked. That's the thing.
It was a strategy and it worked. And and are you going to kill
kill people for being clever and and moving in the way they you?
Can't. You can't.
You can't exactly. So, yeah.
So that's one thing. And then another thing Bian is
doing really well is actually making his presence felt.
I don't know why this is becoming Analyzing Beyond Moves
podcast. Actually just had that thought
as to, and just to explain, I think one of the reasons we're
using him is because we, he's one of the Kenyan artists that
we have seen doing it right in that way, or at least doing,
doing a lot of what we're talking about decently like
with, with it apparently or allegedly with, with thoughts
and, and, you know, just moving correctly.
So it we're not just bringing him.
But you didn't bring you, you did bring a good point, although
this was admittedly in pre production when you said there
are other artists who also fly out to different countries to,
you know, tour, yes, perform. I know a lot of DJs do it.
I know recently, like Lee Boy from Keep a Pearl, she was out
there probably in Europe like performing and stuff like that.
We have the likes of like Elsie Wameel, who's literally honoured
on a on a worldwide tour. So it's not to say, I mean,
we've seen also Xenia in LA like pushing her music as well.
Like, so it's not to say that we don't do it.
We're not saying that oh, Kenyan artists don't do these things.
No, we're just kind of pointing out like.
Certain things pointing at the at the at the maybe the
brightest light, though, the one that everyone and see and know
sort of, I guess. Exactly, exactly.
So yeah, I was just saying BN recently had that trip to
Nigeria and we talked about this last podcast.
But yeah, you know, I was just, I just typed in BN in Nigeria
and I saw a bunch of interviews and radio things that.
He did. He was with Joey.
He was. He was like, I've just seen like
1234 like 5 different, like 6 different interviews with BN on
there, essentially introducing himself to the Nigerian
audience. And that is very, very
important, like taking time out of your calendar to fly to some
of these key areas and introduce yourself to the audience.
And even if, like, one thing that might be difficult is like
BN is like viewed as the biggest artist in Kenya, right?
Yes. But also having that like having
that mentality to go out there, not as BN, the biggest artist in
Kenya, but like as BN, an artist who makes dope music.
So sometimes I feel like people feel like we'll go out to these
spaces and we wouldn't be as big or like as highly regarded as we
are back home. But that's fine because you
know, genuinely you won't. There is a lot of work to do, so
it's fine you know. Like, success doesn't translate,
doesn't translate as easy as you think it does.
So you might be the biggest thing around here.
And then you go to another country and they're like, wait,
who? But but you see, it's fine
because in five years a lot can change, bro.
If there's one thing I've realized, a lot can change in
five years. And I went down the rabbit hole
to kind of look at like Rama and his story and how he first came
to perform in Kenya in 2019. And I believe this was the
thrift social event that was in Alchemist and I went down the
deep. I had to go on Instagram and
scroll really far down to thrift social and and just checked out
like the performance and I'm looking at it and I'm like, wow,
Rama has come from far because you see that audience or that
crowd, you wouldn't see. It's a it's.
Not a big it. Was a crowd.
It was sizable. I mean, how come it's just?
But it's not like what Rama commands of.
Course not. No, not nearly close.
And it's, and it's things like that, like having that patience
and that foresight because you see these guys.
So and I'm pretty sure what they did was they looked at his
analytics and they said, OK, Rama is being consumed
relatively much in these specific zones in the world.
And I'm sure Nairobi was one of them.
And therefore, they said bet Nairobi is a place that Rama has
to go and perform. Yeah.
And he did. Yeah.
He did it first in 2019, Right. And this was touted as Rama.
And then there was Xenia Manasseh, and I think they
called it the Nairobi Kids. That's very interesting.
But Valerie Modoni was one of the everything else.
Yeah. Yeah.
And then in 2022, again, he came, he performed, I believe
Karun also performed and stuff like that.
And at that time significantly bigger artists.
And then obviously two years later, last week, he performed
as well. And now he's like viewed as this
really big international act. So these things take time, but
in the grand scheme of things, five years is not a long time.
And it's actually very short if you think about it like it's,
it's something to be patient for.
I feel like like if today, like if we look at a mid tier artist
right today, like they can invest in going to a different
place. Like, I don't know, Cameroon or
something, you know, oh what? Like or Ghana, right?
Yeah. And like going out there, like I
know Kirby, like for example, went to Ghana like a few years
back. Like you go to these places and
you see what's up. Like you do like you put
together like a show or two small, it could even be in front
of 50 people. Like it.
Like it doesn't matter if it's if it's really small or
whatever, but like what comes out of those things is so
valuable because not only do you get that exposure and like some
people in these other markets get to know who you are, but you
also have the opportunity to make connections.
And sometimes I think we undervalue the connections we
make, especially in these small spaces, because you could make a
connection with somebody who also is very small.
But listen, you don't know where they will be in five years.
You could, you could go to Ghana, for example, and meet a
curator and they are very small for a very small magazine.
And nobody knows who they are. Maybe they're very niche.
And you just take a chance and you, you, you do an interview
with and. You don't.
Social, then it's small. Exactly.
You never know what, where, where it's, but then it will go
to like it's a butterfly effect. Exactly.
But then five years later, that person might be the fucking
editor for a really dope magazine that's doing big things
or like a Hamilton Rain or something like that that's doing
big things like in Ghana or like in West Africa in general.
But you, you literally, and they'll know you because you
give them some time way back when, when they were really
nothing, you know what I mean? So even bumping into like these
small people, these small communities is so valuable
because you don't know where those people will be 5 years
from now. There's, there's, there's real
immense value. In that.
In, in, in taking a chance and there's something and like
actually physically going to this.
Piece yeah, there's something also that you mentioned and then
just going back to the whole ads conversation that we're having,
right? You talked about using metrics
like it's so much, much, much easier these days to figure out
where your fans are and how to get to them.
You know, like going just to look at like very simple and be
looking at your most the, the regions that most that stream
your music the most, right? There's a whole bunch of
different analytics that you can tap into for that.
And then you now play into that like, is it OK?
I have most of my listeners come from Nakuru.
Most of my listeners come from Mombasa.
Then you now say, all right, I'm going to do a show or something,
put on something for them so that I can, you know, target
that area that they already pick.
They're already tuned in. Because without that, it can be
a hit and a miss where you have like fan bases all around and
then you don't necessarily target them.
You're almost starting from scratch every single time you
put out music or you're trying to do ads and stuff and that's
taken back. So using analytics is a very
underrated way that that we could, you know, look where,
where, what area apart from the local area that we are in.
Listen to me and who wants my music?
Who does this apply to? And then you specifically try
and get there. Yeah.
Yeah, so definitely entrenching yourself in these different like
locations based off of metrics and stuff like that.
Super, super important into the path of becoming international
acts. Yeah.
What else? What else?
What else can we can one do to become an international?
So I mean we. In music, anyway.
Yeah, we, we talked about it. We covered it slightly, but then
it's the connect. You talked about connections,
but then connections in terms of now even with the music, like
collaborations and and appearances and all that stuff,
just making those as a point. And it's on a making those
connections that the physical, human social is it social
currency connections that keep you in the minds of maybe the
people in those spaces, like the biggest artists or the mid sized
artists or whoever it is in the different areas that you're
targeting. And you know, going, doing,
going out of your way to reach out to them and sitting is.
Collaborating maybe Yes as well. I realize that music has as when
you were young, when you were younger starting artist, you
have to let go of a lot of pride as an artist sometimes.
Yes, pride is there and ego is there.
Ego yes, you have to let go of your ego and do what needs to be
done because I mean imagine I'm pretty sure at this point in
2019 Remo was doing bigger shows in in Nigeria, I'm pretty sure
right he was doing he was the numbers, but then they suggested
OK, come to Kenya. It might not be the biggest that
you've ever seen, but it's good for you and he did that, you
know, and we've seen that with other art, more artists like
just going and and doing smaller shows might not necessarily be
the biggest in the world, but smaller shows and just getting
yourself in those spaces, collaborating with artists.
I mean, you go to Nigeria and you're not necessarily looking
to or you go to South Africa, you're not necessarily looking
to collaborate with nasty sea. You take what you can and just
build slowly or Casper, yes, build slowly.
Make the connections that you need to make to get not
necessarily use people, but just I mean, it's used people and not
used people, right? And it's not used people in a
negative sense. But there no, no, you're using
people, but they're also using you.
Exactly. So it's like mutual, it's
mutually. Mutually using So yes, it's
making the connections and ensuring that even your team and
your managers, the managers people managing you are really
important in this stage as an artist because they it's up to
them. Sometimes it's not the artist
that keeps those connections going.
You know, it's just too much for an artist to to maintain all
these things. So it's the manager that picking
up the phone calling, saying yo, what's going on in your in your
city, you know, what are the shows looking like and just
keeping those connections going with different people and trying
to build on that and then leverage them as much as they
can to benefit both parties. So yes, it's, it's your
connections, it's your collaborations, it's doing
things that you might seem, you know, why am I doing all of
this? Why am I going to some random
party in Abuja? Yes, so that you can, so that
you can make an appearance and show yourself, you know.
And I, but I don't want to like come off as though you know,
some and I have because even us, we have so much to do in our
careers. I also get challenged daily when
I see how other people move. For example, Maui Moon, he
released a project recently, For the love of R&B, right?
And bro bro, he's from Uganda, right?
But these guys, him La soul child, Joshua Baraka, they've
taken the time to to come to Kenya to see what's popping and
work with Kenyan artists. Why haven't I affirm done the
same thing, you know, like as a producer, because that's
essentially what he is a producer.
Like if I was forward thinking as well, I would be like, OK, I
have these beats, I have these ideas.
Why can't I go to Tanzania? And this is low hanging fruit
because these are our neighbors. Go to Uganda and see what's
popping and work with some of those artists.
Like my stock as a producer would also write, you know, and
that's essentially what people like Maui Moon have done.
You know, they are, they're doing it.
That's the whole point, like connectivity, moving outside of
your comfort zone and working with artists there.
And then, you know, from that you gain so many connections and
then you work with artists, like all over the place.
So this is this. I feel like this entire episode
is just like, is this like a huge learning moment for like, I
feel like all of us, you know? At whatever level.
But yeah, at whatever level you're, you're right.
At whatever level because like as much as it's like, OK, yes,
fly to Nigeria and all that type of stuff, Yeah, that's
expensive, right? So that that might be reserved
for the people who have the well with all to do so.
But you can still connect and mingle with these artists even
if you can't physically do some of these things because you
don't have the income or not the income, but the disposable.
What do you call it? But if you just don't have the.
Financial, financial backing for all of that, yes.
Because for me, for me, for example, I'll use myself as an,
as an example, like, and I need to get back to doing this.
But when I started like the TikTok series and I was shouting
out a bunch of like small upcoming artists, like who I
found like in Nigeria, for example, like, you know, now you
do that and they're Bros. Some of them are very like
thankful. They're like, yo, shout out to
you for like shouting me out and then you start talking from
there and all of a sudden I'm talking to a producer or a label
in Nigeria and building a connection that way.
Social media has made it. When I decide to move to to go
to Nigeria, like I'll have people over there who know me
and I know them, right? You already have, so it's like.
You can do small things like that.
Yeah, it's true. And social media.
To kind of build your like network, yeah.
Yes, social media has made it like really easy.
I think. You know what I think?
I think a lot of artists might feel like they're not 100%
relatable in terms of like, maybe I feel like my music is
not like, for example, someone who does music in their in their
mother tongue, whatever language it is.
Impostor syndrome is no more. Well, that's actually, that's
actually very brilliant. But yeah, so someone like, I'm
not saying him now, but then there could be artists who are
sitting down, sitting back and saying, listen, man, I don't
know if like, how do I reach out to an artist from South Africa
to jump on this song or an artist from wherever, Cameroon,
whatever it is to jump on this song when I did.
And that's a question that you're asking without looking
for an answer. And a lot of people are a lot
more open to collaborating that we actually than we actually
think there. And I realized that on my own.
Like, there's people who are OK. We just, I think we form, we
form narratives in our brain and run with it without actually
confirming it. But yeah, anyway, we can.
We can move on to the next. Your facts, so some moving on.
Well, not really, but so some and I were trying to answer
these questions because they are indeed very heavy questions to
answer. And we were like, how, like how
do we get these answers? And then it just came up.
Why don't we put everything into ChatGPT and see what ChatGPT
tells us? Oh, ChatGPT is not real
journalism? Yes, it is.
No, it is like, so we put in a query, give me all the steps
that you would take to make a Kenyan artist a successful
international music act within five years.
And this is what ChatGPT had to say.
One artist development months, one to six, it broke it down
into months. Some like this is but like, OK,
so this is what they say one. So this is months one to six,
identify a unique selling point and focus on the artist.
You authentic sound, blah, blah blah, music and image
refinement, vocal performance and media training and then
branding. And some we've had episodes
about artist development, especially like the one we
talked about like in Soul, the Soul Gen.
Focused episode and stuff that I think artist development is.
Yeah, it's really important. And six months very important.
It's a It's a good. Time, it's being the first
thing, length of time, it being the first thing, shows how
important it is because you have to, you really have to solidify
who the artist is and wants to be at the beginning stage before
you know what direction you're going in.
You can't just say, OK, I'm an artist, let me just get out of
the house and start working. Like, no, you have to figure out
in terms of goals and and all that.
And then just refining yourself. Vocal performance and media
training is one thing I don't think people pay attention to,
but that's really important in terms of just fine, you have
talent, but you need to be better.
I mean, not be better. So you need to advance it.
You need to to to work on it. The thing that they say for me
that stands out the most is unique identify a unique selling
point. That's so key in a in a in a
industry or in a time when everything is over saturated,
you need to find a way to stand out.
And I think yes, ChatGPT is spot on moving forward.
Second number two, build a solid local fan fan base and you
should do this between months 1:00 to 12:00.
So essentially in the first year, this is what you should be
doing. And, they say release quality
music media outreach. Before you go on, before you go
on, before you go on. It's a release.
Quality music release singles or EPS consistently, not albums.
Not 3C's. Back to the three C's and yes,
not albums. Please.
Please does this focus want to pop out again?
Let me tell you. Yeah, I'm an artist.
And then all of a sudden it's an albums like All Right, Big Dog,
like Come on. The problem with albums is if
you're a smaller artist, it's hard to capture people's
attention and have them listen to an entire album.
If they don't know you, it's harder.
You have to build that trust. It's harder for an album to
travel. It's harder for an album to
travel as a body of work than for a single to It's much easier
to work a single than it is to work an album.
Exactly. Yeah.
And so, yeah, so they say. Release quality music, media
outreach, secure interviews and features.
Reach out to Radio 254 or something like Radio 254.
Literally they will interview you if you ask and your Kenyan
of course live performance, performing at popular venues,
blah blah blah. Digital marketing leverage
social media, YouTube, Instagram, TikTok to grow the
the artist local following. What do you think?
I think this is a. This is so far this is a very
solid, solid and doable things that you should do.
Yeah, it's solid and it's doable.
It's not doable. There's exactly plenty of
artists who are already doing this.
Yeah. So we're going to months 6 to
18. Yeah, months 6 to 18.
So digital the next. Well, the next point is the
digital strategy and global awareness.
So leveraging the streaming platforms, collaborating with
international artists, which we talked about recently, YouTube
and social media campaigns, and then search engine optimization,
SEO and targeted ads. Again, using Google social media
ads to target international fans, especially in markets
where Afrobeats, reggae and Afrofusion are popular.
This is what GPT thinks in Kenya.
This. Is essentially what we said
earlier in the podcast. Yes, yeah.
Like it's crazy. Like targeting.
Sorry, go ahead. No, no, yeah.
So, and then also like with leveraging streaming platforms,
which is really important because streaming has become the
biggest way that people consume music nowadays on their own,
individually. So targeting playlists on global
platforms, Spotify, Apple Music, Deezer, of course, they're local
ones. Boom playing the rest, then
working on getting artists featured, the artists featured
in African and global playlists, AG Afro, Beats and world music.
So yeah, we've, I mean, we've talked about streaming and and
playlisting and what that does. And it's just really looking for
ways to be in those spaces, those playlists and all that and
get in consideration. It it all.
It all starts from the music and just keeps going forward.
Yeah. So for me, I would say this step
is where like the Maya Molos and the Zoe Can gotchas are doing
right now, where you know your own colors.
You're also collaborating with like producers in different
countries. Like, for example, both of them
were on Maui Moon's project, things like that.
Collaborations. And so this is between six
months, 6 and 18. So 1 1/2 years.
You're thinking about just being a collaborator.
It might not even bring a lot of revenue in.
Yeah, but you're working with people.
Yeah. Strategically, of course.
No, I'm not saying is just work with everybody, but like
strategically try and collaborate.
Collaborations. That makes sense.
Number four, yeah #4 it's the same thing.
Network and industry relationships, months 12 to 24.
So this is what you should do within two years.
International collaborations. And by international, we're not
talking about collaborating with somebody in Brazil, like, you
know what I mean? Like even Tanzania, Uganda,
South Africa, Nigeria, things like that.
Yeah. Attend international music
festivals. That's interesting.
PR and media features, hire APR team for international press
coverage. Label slash distributor
partnerships. Approach global music labels or
distributors for deals that provide access to international
resources while maintaining creative control.
Now this is very important because here #4 is where we see
the success that TG Black has. TG Black is distributed by Well,
then this is information you can find if you just like check her
Spotify. So it's public information.
You'll you'll notice like the people who are distributing her
music aren't like necessarily from Kenya.
So that relationship is super strong because they open you up
to an entire like like network of the industry.
You know what I mean? Like you're not just like
hyperlocal, but they also do like accommodate for your local
distribution needs. And I know a lot of artists who
use this model to kind of help increase the reach of their, of
their music. Now, is it necessarily easy to
to get like an international distribution service to take you
on as a client? I wouldn't say it is, but it's
doable. And I know artists who've who've
done this before, other artists who've who've like distributed
with like distribution companies in the UK for like R&B projects
and stuff like that. And it's greatly put them on.
So you know that like distributions are labels like
Platoon, for example, these are services that that will be open.
Another example, Philo Philip cough like and his whole
partnership with Ditto Music, right.
Ditto Music is also based in the UK and that's what they used to
distribute a lot of these drill artists like, yeah, Philip, he's
he's it can. Be for those who don't know his
his broken boys manager and a few others, you're you're
absolutely. Right.
So yeah, networking and developing this industry
relationships, super, super, super key.
I also saw it in Philo another day when we were at Kirby's like
thing and there were those videographers from South Africa
and Philo took an interest in networking with them.
Shit like that, you know what I mean?
Like just being open to working with with so many.
The music industry is a is a. Communal, it's a community that
we have to tap into. But yeah, next step, expand to
diaspora communities that's like a year, year and a half and
forward. So you could target, can target
key markets, then that's now you get into touring different shows
around collaboration, collaborate with collaborations
with African artists abroad, and then leverage Afrobeats and
world music waves. Of course, now this is GPT
suggesting what you can do. It doesn't have to move exactly
like this, but it's just like a really good framework to guide
what you're doing. They're focusing the target key
markets, focus on Kenyan and African diaspora communities in
key cities, then touring organized small international
tours in Africa, Europe and the US targeting cities with large
Africa diasporas, which is pretty cool.
I mean, you could, you could do that now artists ego would tell
an artist that you have to have the biggest show in the world
when you're touring and it has to of course now it has to make
sense financially and sometimes you would take losses, but you
would gain in terms of reach and exposure.
So yeah, yeah, that's pretty cool.
Yes. And I wanted just to add like.
We've we've seen a bunch of artists like at least attempt.
No, not attempt. We've seen artists do this.
I know major performs in front of the diaspora a lot.
Nashinsky. And who was he carrying along
with him? Was it like Xenia he was going
out with Savara was? It something I think Savara.
Savara. It wasn't Xenia.
It wasn't Xenia, but I think it was Joshua Barra.
I'm not wrong. Or was that a dimension?
I can't remember but. When whenever you hear that they
are going to perform in America, it's typically not be going to
be in front of an American. Yes, it's going to be in front
of a diaspora LED in audience. And that's what ChatGPT is
saying you should do. And that's what a lot of them
do. Saudi soul have been on tour
like and, and, and yes, within that diaspora, obviously the
Kenyans are going to come with like the African friends or one
or two friends they have made out there.
And that's slowly how the audience starts to like, grow.
Yeah. And again, sorry again.
Number six, sorry again, we're just mentioning the names that I
guess everyone knows. There's, there's much more than
many other people. Like I know for example, Muturi
was out there recently doing a show.
I want to say Germany, if I'm not wrong, I don't want to get
that wrong, but then yeah, so there's many artists who are
doing this. It's just we're highlighting.
We're just highlighting. I guess the.
Some of the bigger names just to show you.
So you're saying Valerie Modoni was in Tanzania as?
Well, like performing. So bro, people are out here
like, you know, trying to put these things into practice.
But yeah, I was saying number six, monetization and business
strategy, this is months 24 to 48.
So now this is between two and four years.
They're saying merchandising, launch branded merchandise and
sell through digital platforms, licensing opportunities,
licensing music for using film, TVETC endorsements and content
monetization. And you know, obviously through
following this like framework, by the time you're reaching
here, you'll have built enough leverage to appeal to some of
these brands and some of these TV shows that would want to
license your music. So I think that's a very
sensible pathway. True number 7/7.
Go mainstream internationally. That's months 36 to 60.
Now here's where you have your major collaborations.
Securing your collaborations with like, the top global
artists in the US, the UK and other major music markets.
Then the festival circuit perform at global festivals
called Coachella. Lala.
Lola Palooza. It's Lola.
I thought it was Lola Palooza. Lola Palooza, Glastonbury and
the like. It's pronounced Lola Palooza,
Yeah. And then?
Major wait, wait. Is it OK?
No. Next is sorry.
The Global Tour Launch of full international tour covering
North America, Europe, Asia and Africa.
This tourists tend to be longer and just you know, sometimes
it's a lot more work and then major label deal.
Now this if this this is not necessarily in the artist
control, but then it's part of it.
Negotiate with a major label, but also this might.
Be the only part that I disagree with ChatGPT because I feel like
that is still the old kind of model.
I think now you don't necessarily need to have a
label, yeah, work with a major label distribution.
Maybe you you may need to find, yes, better distribution and
stuff like that. Essentially look for the the,
the entities offering these services.
So better distribution, better publishing.
You don't necessarily have to go for the major labels per SE.
Even the major labels themselves are outsourcing some of these
things now. So, yeah, but yeah.
So now this is well, now we see the likes of Thames and you
know, with Future and Drake or Ira Star, like with Givion and
everything Rema with Pink Panthers and all those like this
is where they are at now through this collaborations and and
stuff like that, because the collaborations give you sort of
like, bro, they open you up to hold the entire market.
It gives you some legitimacy stamp of approval.
The. Credibility.
Yes, exactly. That's what I was looking for.
And so, yeah, people think, oh, you're performing a song with
Pink Panthers, you're on that level where you're doing a song
with, with your honour, song with Future.
Then you, you, you're, you must be on that.
Yeah, yeah, you know what I mean?
So, yeah. And then also the the strategy
they do here a lot is putting you in these spaces where that
are mainstream. So going for things like the Met
Gala or like Fashion Week or, you know, all these type of
things that they're you can see them actively doing them with
like Ira or like whatever banner boy has been doing them for
years now. Whiz kid has also been doing it
for years now. Yeah, Tyler is, is what she's on
stream with Kaisenat and everything.
Like you're now just like on mainstream media platform.
That's actually, yes, that's actually part of.
Of of the the sort of the last stage that you give, which is
the F5 plus, which is a sustained and escalating phase.
The regular global releases, releasing more albums and and
singles that are that appeal more to the global market with
strong PR and a digital push. Again, we've seen that with a
lot of these artists who've blown up from the African scene.
They're everywhere, everywhere, everywhere.
Next will be awards and recognition, aiming for
nominations and wins at international award shows,
Grammys, BTS and the rest. And then engage in a global fan
base. Continue to leverage social
media digital platforms to sustain and grow your
international audience. And then finally, diversify your
revenue streams, expand into other entertainment sectors,
acting, entrepreneurship. Here's where you see people
starting like fashion brands and whatnot and then like, yeah,
doing. Just doing different.
Things in order to to bring in more money and, and push your
brand into different spaces, not just maintain it within the
music scene, but they're now doing different things.
So yeah, that's Chat GPTS. Shout out to ChatGPT for having.
The knowledge on how to. How to take a Kenyan artist from
episode is brought to you by AI. Sorry, yes, this episode is
brought to you by ChatGPT. Taking a Kenyan artist and it's
very this one is very doable. Of course, some caveats are some
disclaimers are one money, money, ma.
Yeah, OK. Actually.
Do you want to do what? Because we also tried to find
out what, what, how much this would all take from ChatGPT.
Do you want to scare some people?
So the the. Estimated total cost of a five
year sum, they're saying the low range is $350,000 and the high
range is $1.5 million. But yeah.
It says key variables scale the cost varies depending on the
scale of international marketing. 2 collaborations high
profile features can be very expensive, but might be fast
might fast track international success. 3 geographical forecast
targeting specific global markets will require tailored
budgets, especially for touring. But four, and this is most
important not to scare anyone away, is a DIY high approach.
Some steps can be done in house at a lower cost.
So this is not to say that that's how much you need to
spend. It's possible to afford doing
some of these things like in house with also using your
relationships. Yeah, yeah, sometimes it might
take longer. To do all of this, sometimes it
might take shorter, it just depends on and.
And another aspect of this is, again, you don't know what step
or what relationships or you know, what ad you do that would
like trigger some of these things faster.
Like we really don't have any control over at all.
What song blows up the song that fans gravitate to that could
actually push you, accelerate you a lot faster through some of
these steps than than you would if you didn't have that song.
So leave some of it up to chance just I guess it's just do your
best to maintain. Some sort of structure in terms
of your. Goals and and make sure that you
and your team are that's all the momentum yeah, yeah, yeah and
then make sure. Everyone.
Is aligned and everyone is working towards the same thing.
Yeah, man, that's And there you have it, Some I.
Think we have? We've cracked the code well in
our. Own way we've.
We've we've tried, I think we've cracked the code.
We've cracked the code. The source.
For free the source. For free that we got.
From chat, do you think do you think that?
Journalists using journalists using ChatGPT, not to say that
all the way journalists, but they're using ChatGPT is.
Do you think that's legitimate? No, but we used it to supplement
our points because we used it. At the end to kind of easy,
yeah. Exactly.
So it's not like we just. Used it at that point.
Yeah, that's true. There we go.
But yeah, I mean we. Tried to kind of answer the
question of how to make a Kenyan artist an international act and
we did our best. Honestly, we did our best.
But in the back all this just comes from a.
Place of. Yeah, and all this just comes
from a place of us wanting, wanting our artists to win
because ultimately that's a good goal.
You know, you don't know how bad I want to see.
I want to see like. International artists like we
see with so many of the other different countries, like I
just, I want to see Kenyan acts everywhere, bro.
I just, I want saturation because we've we've done well in
many different areas. There's no reason why we
shouldn't do well in music. And we have such really like,
imagine how nice it'll it'll. It'll be to see like Jarai
hanging out with or in a Kaisenat stream.
And I don't know how that looks, but like, you know, yeah, you
don't have, you don't know how that looks.
Because we've not seen pictures of of that kind of thing.
But it's entirely doable. It's possible.
And Jerry and Kaisenat collab will be crazy.
I like that. I'd like to see that.
Wouldn't it, man? Yeah.
Listen. Kaisenat, if you're listening,
he's he's not listening. Yeah, you go again.
Yeah. Kaisenat.
Listening to us. Speaking of listening, Sam.
What did you listen to this week?
Music. Music makes me.
Lose control. Oh, we Yes, I knew you were
gonna do the I knew you were. Gonna do it, bro.
I just. Yeah, all right.
Yes, I do. Yeah.
So. Let me start with.
We had mentioned it earlier when we're talking, you mentioned For
the Love of RnB Volume 1 by Maui Moon, and I'm bringing it up
because it has a bunch of Kenyan artists on there.
So we can go to Maya Molo is on there, I think is on there too.
So yes Sir, we've got that going.
Chimano dropped a joint called Fashion.
It's good to see him releasing some music produced by Afro
Lectra, who has done a bunch of other songs that I know about.
But then I can name them right now.
Yes. Let's see who else.
Brandy Minor drops a song called Tango that was called Kahora
teams up. I mean Ziki, sorry.
Ziki teams up with Sophia, Sophie, Enzo for a song called
Kahora that's also pretty decent.
Guardian Angel? Which Shukrani?
Steph Capella. Rick Miruka.
I hope I'm pronouncing that right with a song called Cheesy.
Dang, what else, what else, what else, what else?
Just running through some of the releases.
Do you want to? Oh, Mr. Frank.
White Mr. Frank White. We played him a few weeks ago,
dropped a 2 pack with Davion. If I'm pronouncing it right,
it's called MA Lovers rock, my lovers rock.
So that was pretty cool. I'm I'm just interested in Mr.
Frank White and the music is creating now like I just be
listening to everything he does. It's very interesting for me.
What did what did you listen to? I don't want to outside of that
I listened to. Life of the party by Sora Kafi
and Slumberland. That was cool.
I listened to Uko Piwa, essentially Uko wapi by Shawn
Sosa, the prodigy and Lil minor produced by le Mario.
That beat was insane. That beat was fire.
That was that. In terms of beats, that's one of
the better beats this week. But there was one beat that was
just better than the rest of my opinion, and that was the beat
to Messiah Beer by BD. I can't lie.
I have to give him his props right now.
King Fizzle, bro. King Fizzle killed it for me.
Bro. That song is just so good.
I, I, I think, I think Messiah Biya might be my favorite BT
song. Like that's out like that's,
that's for me. It's just like everything just
came together. The beat, his rapping like this.
One of the best rappings I've heard from him too.
Phenomenal. Very cool.
Very. Cool the floors.
And everything I love. I love fiction about party.
He is the last. One I listened to was 20 G
produced or released a song called Never Stop.
Yeah. I would assume he's like I don't
know if he moved to Japan or something.
Anyway, he released a song with Vox Vox and or some movie Jordan
and it was really dope to see Twirly and then also wrapping a
little bit in Japanese and stuff like that.
That was very, yeah, called cross cultural.
But doing collapse, Yeah, yeah, yeah.
That's like cross cultural. Cultural.
Cultural, yeah. Get into the Japanese.
Japanese community, yeah, I think that's what I listen to
some. Yeah, just to name a couple of
products so love. Draft by Ken Aswani dropped if
just modest Jabari on there and then another project called A
Man of Naive by Brian Siegel. I haven't got into that, but I
will get to it. I'll listen to it again.
And then Kosto Drang released Imposter Syndrome No More, which
is a very, very, very apartment title for a lot of artists,
including myself. Impostor Syndrome Syndrome, not
syndrome. Syndrome No More by Kosto Drang.
That's this is his second album, if I'm not wrong.
Let me just get that right. Yes, his second project, his
first one was when he was released in 2022.
Yes. So I give this a listen.
Of course, I need to go back and listen to it again, but I
enjoyed it off the first listen. I enjoyed a couple of songs.
Dance with Ambassador Mandela was pretty cool.
I like that. I like Wabiru, that was dope
too. Iyana was also one of my
favorites. Jathoom and Traveler.
And then Purpose with Mordecai decks.
I like Mordecai decks, man. I like his vocals.
I like what he does. Fly away also with Quiz, which
is interesting. Yeah, man, I need to go back and
sit down with this project, but I I enjoyed it.
I enjoy Costello Jones music. His his.
He's becoming one of my favorites Kenyan artists.
Yeah. Did you get time to to breathe?
Yeah. So no, no I.
I skimmed through a little bit of the songs, but you know,
because our drawings fire you, you know, he's multi talented.
Yeah, yeah, yeah. Like I told you, I'll never
forget about the time I walked into a art installation in, oh,
exhibition, sorry, in Village Market, and I saw his name in
some of the paintings. Like, how diverse is this guy
anyway? Yeah, it's very cool.
It's very cool. It's very cool.
Shout out to Costa. Shout out to Costa.
I think we could play if since you always ask me AFAM, if you
would allow me, I think we could play a song off this project.
I don't know where to go. I think I guess we could go
Jatum. He features Salvara on there.
This is definitely one of those I feel I think the song is going
to go. It just sounds like it's sounds
like it's primed for radio. So I think if we could do that.
So Costo drunk from his album Imposter Syndrome No more, here
is. Yeah, yeah, yeah.
Here is. Jatum featuring Salvara.
The. The
I've been catching flies and I'm running back to you, Longing for
the days I spend with you. Let the music click away.
All I'm only is your wish. Let me love you right away.
It's your day, it's your game. Let me let me drive in your leg.
When the drum plays at the home stage.
Let me love us. I'm OK when the crowd is
charging on and the people sing along.
Everybody dancing on and the people sing along.
The. The
the Costa Ojwan. Savara with Jatun from his is a
sophomore album, right? The second one is a sophomore
imposter Syndrome no more. It's a really cool song, yeah.
Oh man. Yes, Sir, man, and that.
Bro, that's that, that's episode 98 of the 30% podcast.
Like I like to say at the end of every podcast, please guys,
actually just yeah, listen to this podcast.
I feel like this was a really yeah, this is a this is AI
enjoyed some I enjoyed this conversation.
You know what this was. You know the spot speaking.
Of this podcast. Was no, I know.
You're about to get into it. This podcast was like a very,
very lengthy version of the three CS is essentially what
this this podcast was actually yes, it it.
Was it was? And what are the three CS you
ask if this is your first time listening to this podcast?
Well, I will tell you the three CS are things that I concocted
in my mind. See, I use the C word there.
And one of them is consistency. If you're an artist listening to
this podcast, I implore you to be consistent with your music
releases. Like I always say, I'm not
asking you to release music every week or every two weeks or
every month, but if you decide you're going to release a single
every two months or an EP every six months, stick to that and
you'll begin to see success. The other C is confidence, man.
As an artist, I know how vulnerable putting your art out
there exposes. It leaves you like it's a very
vulnerable experience because you're putting your art there
and you're you're leaving yourself up to people saying,
oh, this is cringe or this is not my vibe or this is amazing.
It sucks. It's a it's a sucky feeling just
leaving yourself open to people's perception of you.
But you have to be confident. You have to exude that aura of
my music is amazing and there will be people who will engulf
or just, you know, they'll feel that energy and it'll translate
well. And lastly, craft always, always
work on your craft. This is the part that even I
need to like, take into. I need to take my own advice
essentially because, you know, everyday.
You need to work towards. Like becoming better in your
your field, whether it's, you know, watching music tutorials
or reading an article about how to better market your music and
stuff like that. Do something small, even if
you're reading a paragraph of you know how to better publish
or license your music, or if you're just watching a tutorial
on how best to, you know, harmonize your your when you're
recording or the best way or the best technique to mix your
vocals. I don't know.
Whatever it is, try to do that every day.
And you don't have to take a long time.
You could even just take 5 minutes.
And if you do that every day, everything will add up and you
will be successful. Yep.
I was just thinking someone like a a a starting artist who
listens to like the the blueprint for for green yourself
as an artist and becoming an intentional artist could think
that that's a very, very difficult thing to do.
And but you just you just give like the sauce right now as as
you are ending the three CS is set small goals set achievable.
Goals that. Contribute to the whole picture
and work on achieving those small goals.
Don't always look at. Don't always use the bigger.
Base the main goal to fuel your own self.
That could be the overarching theme of what you're trying to
do. But then set small goals.
Very achievable, Very, very, very concise.
And then work on those and achieve those ones and set more
goals. Achieve those and set more
goals. And then before you know it,
you'll be exactly where you want to be.
And you might not have thought that you could make it, but you
can. So yeah, man, it's doable.
We need to see a lot more artists be conscious about
getting to this places and this sports and.
Yeah, go forth and create. You sound like at the end of
like church, like Catholic Church, how they usually say go
forth. They usually say go.
Forth. Yeah, yeah.
Yeah, anyway, go forth and create.
Guys. Thank you so much for listening
to this podcast. This was episode 98 and we shall
see you for the 99th, 99th. Episode iteration.
We out.