Congratulations on the release of Soul’d Duets! How does this album represent your growth and evolution over the past 20 years in the music industry?

Thank you! This album falls on the 20th year of my music career, it symbolizes the spirit of collaboration which has been the main theme for all of my projects over the years.

Your career began in the early 2000s as a pianist, and now you’re a highly accomplished producer. What were some pivotal moments that shaped your musical journey along the way?

Having mentors in every stage of growth in the last 20 years has been a major milestone in my career. EJ Jackson was a huge influence in the development of my jazz approach as well as my college advisor Prof. Pryor. Both are trumpet players and pushed me to understand the importance of learning music theory. Kaysha has been the other major influence who opened doors for me by availing me opportunities to do official remixes to his songs and artists on his label. He has taught me the importance of having a brand with a signature sound.

In Soul’d Duets, you pair artists with diverse styles to create harmonious soundscapes. What was your process for selecting collaborators, and how did you ensure their unique sounds blended seamlessly?

I started the whole process by pairing up artists with whom they felt most comfortable with or wanted to collaborate with. But a few pairings were my decisions based on vocal styles and abilities plus the track selection. I have two previous albums (Odes by Queens and BLK2541) that had featured a majority of the artists on Soul’d Duets so it really felt like a continuation of a story but in a different chapter. The few newcomers also were suggested by fans of my work and it was an experience working with them compared to the other artists.

⁠The lead single “I Surrender” features Zaituni Wambui’s vocals and Kimbassax’s saxophone. What was the inspiration behind this track, and what did these artists bring to the song?

The song is influenced by three different songs based on the vocals, track and overall music production. I was scrolling on TikTok and saw Ozedikus playing the track “She Like Igbo” that he produced for Blaqbonez and that’s where it all started. The moment I settled on having Zaituni on the vocals, I sent her the reference song “Diamond in The Desert” & “Ready Enough” by Sidibe. The song needed a very delicate vocal delivery and Zaituni delivered. For the sax and song production, I leaned on Sade’s “Sweetest Taboo” who’s been a major influence in my music career. “I Surrender” was actually the last song to be recorded for the album and it brought out the well-roundedness of the album.

You’ve produced across genres, from R&B and Soul to Hip-Hop and Afropop. How do you maintain your versatility as a producer while staying true to your own musical identity?

First and foremost, I’m a fan of music consuming across different genres. Also, I was exposed to so many different styles of music as a child. That seems to have rubbed off on me creatively making it easier for me to have some versatility in my work.

Your imprint, Waithaka Ent, has had a significant influence on the Kenyan music scene. How do you balance your role as both a solo artist and an executive producer for other artists?

I try to prioritize whatever project is in front of me and not skip the process with any artist I work with. The major focus for the first 15 years of my imprint was the production and distribution side. The artistry came after a couple of my friends pushed me to release my own music. The tracks I was composing were good enough without vocals and that led to instrumental projects as well as collaborations with vocalists. The executive producer role is a hat that I never put down whenever I’m working on my music or someone else’s. I have to envision the whole process from start to finish while keeping everyone involved motivated. It’s a demanding task but one that I enjoy a lot.

Looking back at some of your notable projects like Odes by Queens and Moshi, how do you approach storytelling through collaborative albums compared to your solo work?

Most of the projects start off as ideas that I have been thinking about or suggestions based on a discussion with my close collaborators. Odes by Queens album was an idea shared by a close friend Kibali who thought it would make a great impression. I was introduced to the majority of the artists featured on the album by Ythera who’s been featured on all of my albums. I sat down with each artist and we had talks so I could tell where they were in life which then helped translate into the music. For Moshi, it had always been a back-and-forth with MJ Wemoto as we exchanged ideas and song suggestions. This was probably the least intensive album because the workload wasn’t completely on me. Also, the creativity was shared as we fed off of each other. We picked the features according to the vibe of the tracks we were making. It’s always fun collaborating with someone who’s in the same space creatively and life-wise.

⁠Your collaborations span across the African continent and beyond, working with artists like Kaysha and Chris Deshield. How do these cross-cultural partnerships influence your sound and approach to music production?

Coming from the same continent as Kaysha and Chris DeShield helps a lot in understanding where someone is coming from as we have a lot of similarities culturally while still being so different. The one common thing that holds us together is the emphasis on rhythm that cuts through the continent. With Kaysha, I explored more of the Kizomba & Zouk styles where I put my spin on it with my jazz & R&B feel. For Chris DeShield it was more leaning towards Afrobeats and different Kenyan styles like Kapuka but we also explored the R&B genre which both of us are big fans of.

You’ve mentioned that your music is deeply rooted in the R&B and Soul sounds of the 80s. Can you talk about how these influences shaped Soul’d Duets and your sound in general?

I was a kid in the 80’s and a teen in the 90’s. Michael Jackson was a very important figure for my generation as we experienced his music at birthday parties and get-togethers along with a huge dose of Kenyan and African music. Then in the 90’s, the sound changed from the dance and pop-driven R&B music to more hard-knocking sampled-based drums with black church chords, leads and harmonies. I became obsessed with the arrangements and feel which I had to learn how to replicate. A decade later, the music I had consumed in the 80’s & 90’s started sipping into my production work. I had taken up piano by this time and I had to learn the chords I was hearing in the music I loved and then interpret in my own way while giving it my own identity. For Soul’d Duets, I have been lucky to work with two amazing engineers/producers: Jay and Giggz. We captured the feel of the album by exchanging music references and ideas on the production, mix and recordings.

With 20 years in the industry and a continually growing legacy, what advice would you give to up-and-coming producers and artists who aspire to create timeless music like you?

Just be true to your goal and be consistent in your approach in everything you do. Try and enjoy every stage of your career even with the ups and downs that come with it. For me, I’d still be doing music whether it’s for a mass audience or myself. That’s how much I love music. Love the music and enjoy the craft.