In the Kenyan music industry, talent alone is not always enough to guarantee success. Entertainment critic Sabato Sabato, popularly known as Sauti kwa Ground, has openly analyzed why some artists thrive while others struggle despite comparable talent. Speaking in an interview with Plug TV, Sabato attributed the enduring success of Bahati and Khaligraph Jones to strong and consistent management teams, in contrast to Willy Paul, whose career, according to him, has been hampered by poor management and repeated controversies.
Bahati’s rise from humble beginnings in Mathare to becoming a millionaire and father of four is a case study in strategic management. Sabato emphasized the pivotal role of Bahati’s manager, Kioko, whose guidance has helped the musician establish a solid brand. This management has not only secured Bahati a mansion and a fleet of luxury cars, including a TX Prado and two Mercedes Benz, but has also opened doors for his wife, Diana Marua, to secure lucrative brand ambassador deals. The duo’s success demonstrates that a competent management team can transform a musical career into a sustainable business empire.
Similarly, Khaligraph Jones owes much of his success to a long-standing professional relationship with his manager, Francis of Blue Ink Management. Together since 2008, the duo has nurtured Khaligraph from performing in the streets of Kayole to becoming one of Kenya’s most prominent rappers. Today, Khaligraph enjoys significant brand partnerships, including with international companies such as Monster Energy, owns multiple luxury cars, and is building a mansion in Karen while maintaining a studio in Kilimani. Sabato credits this success to disciplined management and strategic career planning, which have allowed Khaligraph to maximize earnings from both music and endorsements.
In contrast, Willy Paul’s career trajectory illustrates the consequences of unstable management. Sabato explained that after parting ways with his manager, Willy Paul’s career suffered, with fewer brand deals, growing controversies, and difficulties sustaining his team of dancers. While still talented, Willy Paul has not achieved the same level of financial success or brand stability as Bahati or Khaligraph. Sabato warns that talent alone cannot compensate for the lack of a professional team to manage opportunities and navigate challenges.
The critic also highlighted Otile Brown as a cautionary example, suggesting that his recent separation from manager Noriega could lead him down a similar path as Willy Paul if not addressed. Sabato’s observations underscore a broader lesson in the entertainment industry: strong management is essential for long-term success, helping artists maintain relevance, secure lucrative deals, and build a sustainable career.
Ultimately, Sabato Sabato’s insights illustrate that the Kenyan music industry is as much about business acumen and strategic partnerships as it is about raw talent. Artists who recognize this and invest in competent management are more likely to enjoy lasting success, while those who neglect this aspect risk stagnation, regardless of their musical abilities.
