Why Bien Says Vernacular Music Has the Winning Formula

Kenyan singer Bien has praised the country's vernacular musicians for building successful careers by staying close to their audiences.

Speaking during an interview on Let The Cake Bake, the Sauti Sol star said many local-language artistes had found a business model that allowed them to earn consistently without relying on online popularity.

Bien compared Kenya's music industry with those in other East African countries, saying each market has developed its own way of supporting musicians.

He pointed to Uganda, where he said artistes often build their careers around a strong domestic audience.

“When I go around East Africa, I see that Uganda has a very unique business model. An artiste gets a big song, does a finale tour, then gets another hit and does another tour. It works for them,” Bien said.

He said Ugandan musicians had benefited from audiences that strongly support their local sound.

“Uganda’s music is big to Uganda. You have to be in Uganda to realise what they live in. They love it there. If you want to be part of that market, you have to be in their system,” he said.

A lesson from vernacular musicians

Bien said Kenya's vernacular music scene offers a similar lesson.

He mentioned musicians such as Samidoh and Ken Wa Maria, who have maintained loyal audiences while consistently releasing music and performing across the country.

“Let me just say the vernacular music structure. Ken Wa Maria will release two or three albums a year. His style doesn’t really change, and his songs are written simply,” he said.

Vernacular musicians often perform in towns and rural areas, including at market days, community events and political gatherings. These performances give them regular opportunities to connect with fans and earn income.

Bien said the approach had made him rethink how some mainstream musicians approach the business.

“Urban artists are busy chasing EABL for sponsorship. EABL does real business with vernacular artists,” he said.

The experience, he added, changed his understanding of how artistes can reach their customers.

“I understood then that we have it all wrong as urban musicians if we’re not reaching our customers directly like that,” Bien said.

Success beyond social media

Bien also pointed to other income streams used by vernacular musicians, including live performances, road tours and Skiza Tunes, a caller ring-back service that has generated royalties for Kenyan musicians.

“You’re too bougie for a Skiza Tune, but people in the villages are the majority, and they are using Skiza,” he said.

His broader argument was that digital popularity does not always tell the full story of an artiste's financial success.

“Vernacular artists taught me that you can be off the grid and still be making money. You don’t have to be number one on YouTube or anywhere else,” Bien said.

For Bien, the lesson is simple. An artiste does not always need to dominate social media to build a lasting career. Understanding an audience, performing for it and finding reliable ways to earn may matter just as much.

About the Author

Eugene Stephen Were, popularly known as Steve O’clock, is a Kenyan journalist, digital media specialist and multimedia storyteller. He holds a Bachelor of Arts in Journalism and Digital Media from Murang’a University of Technology, with expertise in news reporting, environmental journalism, digital content, photography, videography and film production. Contact & Social Media: Phone: +24795699374 | Facebook: https://www.facebook.com/share/1BhhxUAYmk/ | Instagram: https://www.instagram.com/steve_oclock__mwenyewe | TikTok: https://www.tiktok.com/@oclockcityc.e.o?_r=1&_t=ZS-98czWCBnRxg