At the polished ONErpm office in Karen, Bilha Ngaruiya swings gently in her executive chair and does something few corporate leaders would dare.
‘If that isn’t some success story, then I don’t know what is,’ she says blowing her own trumpet.
She has reason to. Since her appointment as ONErpm’s Country Manager when the international music distribution, publishing and label services company entered Kenya in 2022,it has grown to facilitate about $100,000 (Sh13 million) royalty payouts to Kenyan artistes every month, roughly $1.2 million (Sh156 million) yearly.
By her account, that is more than half the Sh300 million that collective management organisations such as MCSK, PRISK and KAMP collectively distribute in a good year.
And she has managed this career success without a college degree.
‘I didn’t finish college, so I didn’t have the traditional credentials many people consider essential. Instead, I learned through apprenticeship,’ she says. ‘I served, observed, asked questions, and earned my way into rooms where I could learn from people who had gone before me. My classroom was the music industry itself. What has carried me isn’t a degree but curiosity.’
First business lessons
That apprenticeship began long before the music industry, at home, where she says she started working at about 10 years old. Her mother was an entrepreneur, so business was never an abstract in the Ngaruiya household.
‘There was always a business. Shoes, kerosene, charcoal, rice, motorcycle spare parts, eggs, you name it. I did everything. I sold, swept floors, went to collect supplies, delivered goods, and helped wherever I was needed.’
She calls those chores her first education in business.
Bilha’s decision to skip college was not about money but about impatience with the classroom while the fast-moving music industry pulled at her curiosity. ‘I was already working my way through the music industry and trying to make money,’ she says.
‘I also knew that the traditional path to getting a qualification would take time and money that I didn’t have. So I chose work.’
That choice launched a winding career through music management, publicity, social media, marketing, campaigns, events, corporate communications, client relations and hospitality, with each opportunity leading to the next.
She interned at Homeboyz, the music stable where she got her first taste of the business, and later worked at Zikki Media, a music aggregation and distribution company. ‘I learned social media by working in social media. I learned music management and publicity by working with artistes,’ she says. ‘I’ve had an apprenticeship that has lasted my entire life.’
Learning from executives
Learning from music executives such as Scooter Braun, an American investor and former talent manager, also edified her skills.
‘When I got introduced to this person, I heavily invested in reading about how they did their job. Scooter is one of the brains behind Justin Bieber numbers.’
She blended what she read with her own ideas and adapted it for the Kenyan market. Alongside her day job, Bilha co-founded Premier Talent Agency, which has supported more than 80 artistes and facilitated over Sh12 million in funding for them.
‘I have invested in 50 artistes from my own money and in-kind services, besides what the company does. It is one of the highlights of my career.’
When ONErpm launched in Kenya, the team quickly hit one of the biggest obstacles facing African artistes; a lack of financing for music projects. Most artistes, she says, ask for at least $20,000 (Sh2.6 million) for their creative work, and Bilha saw an opening in that gap.
Filling a gap
The company began offering artistes advances to fund their projects, recouped in instalments after release. ‘It is something we noticed other distributors were not doing,’ she says.
The company’s goal is always to recoup the money and make interest over a long period.
‘I remember when I was at Zikki, a big artiste came and wanted Sh4 million up front tax-free. We thought it through, and the decision was made to give him the money,’ she says.
The artiste, she says, went on to release music consistently, build a catalogue and stay on the platform.
‘When a figure like that is given upfront, what the companies want to see is the longevity of that artiste because that is how you ensure ROI [return on investment],’ she explains, adding that a growing catalogue becomes security for both the business and its investors.
The strategy also made recruitment easier, and ONErpm now has more than 10,000 Kenyan artiste accounts, rising to more than 25,000 across East Africa, including Uganda, Rwanda, Burundi, Tanzania, and the Democratic Republic of Congo.
The first artiste the team worked with was rapper Boutross, on the song Angela, which ONErpm promoted until it went global, passing 50 million streams. ‘We hadn’t seen anything like that before,’ Ms Ngaruiya says. ‘That became my proof of concept.’
Commissions, not subscription
ONErpm’s business model also sets it apart from many distributors, which are subscription-based and let artistes pay a flat fee, such as a dollar a month, in return for keeping all their revenue. ONErpm instead works on commission, taking between five and 20 percent of an artiste’s earnings depending on the contract and services provided.
‘That makes us more incentivised to see the artistes grow,’ she says, ‘because we want them to earn more so that we could also grow our commission revenue.’
She credits timing too, since by 2022 relatively few local artistes had their music properly distributed across streaming platforms, and the Covid pandemic had pushed up streaming numbers for those who were releasing music constantly.
As the person sending invoices for their royalties, she began to see real money coming in and asked herself what would happen if more artistes were onboarded.
Spotify’s entry into Kenya around that time was, she says, ‘a huge game changer’, and Boomplay’s growing activity helped streams soar, so that ONErpm has grown from one million streams a month across its Kenyan catalogue to more than 34 million.
Hits are not made in studios
Despite that growth, Ms Ngaruiya is blunt about the economics facing most Kenyan musicians, many of whom, by her account, earn only Sh20,000 to Sh50,000 a month in streaming revenue from their entire catalogue, which makes reinvesting in music, or even living decently, a struggle.
‘Hits are not made in studios, but hits are made from marketing,’ she says. ‘There are so many good songs that when you hear them you wonder why this song is not popping. It’s never really about the quality or the talent of the artistes. It’s all about how well, or how consistently, they are in marketing.’
She says the biggest challenge is that artistes do not understand how the digital music economy works, and cites several reasons including geography.
A stream in Kenya is worth less than one in South Africa, Europe or the US because advertising and subscription values differ, so two artistes with the same stream count can earn dramatically different amounts.
One artiste on her roster, she points out, earns a steady $7,000 (Sh910,000) a month, mostly from the few listeners he has in the US, even though most of his streams come from Kenya.
‘Kenya is just purely sheer numbers, but the few views he gets from the US change the game because of the high CPM.’
CPM, or cost per mille, is what advertisers pay a platform for every 1,000 ad impressions, and Kenya’s is the highest in the region but low by international standards.
Bilha points to the YouTuber IShowSpeed, whose record-breaking views during his African tour brought a sharp dip in revenue for this reason.
‘He had all these record-breaking views, but his revenue drastically dipped because CPM in Africa is quite low, and that is simply because there are not as many advertisers on the continent investing significant amounts of money on these digital platforms as is the case with the international markets.’
Release order also matters, she says, because artistes who put a video on YouTube before releasing the audio can lose about 30 percent of potential revenue. Uploading the audio correctly first, through a distributor that pushes it to many stores, generates a unique code that blocks pirates from uploading the same track, whereas video-first releases let pirates rip the audio, which she says is how many vernacular artistes get their music stolen.
Placing a channel with a global multi-channel network such as VEVO or Studio71 means earning from four revenue streams (the music, the video, publishing and content ID) rather than from ads alone, although good networks, she notes, typically take about 30 percent.
Rollouts are the final lesson, because most Kenyan artistes, she says, stop promoting once a song is out. She recommends listening parties, behind-the-scenes content, acoustic versions, visualisers, reaction videos and sponsored posts so that audiences keep interacting with the song, since “algorithms like being fed constantly”.
She credits this approach for the success of Diamond Platnumz, whose channel is the top music channel on YouTube and who said in a past interview that he makes at least $2.7 million (Sh300 million) a year from it alone.
Even with her own results, Ms Ngaruiya says the Kenyan industry is far from where it needs to be, and that the low value of African streams will remain one of its biggest challenges.