How Kenyan Music Could Break Into China Without Losing Its Identity, Industry Insider Reveals

Kenyan music is increasingly finding listeners beyond the country's borders.

The development has impressed entertainment industry figures who believe China could be the next frontier, provided artists approach the market the right way.

Frankie Lan, founder of Afrigo Culture Entertainment, has shared insights on how Kenyan musicians can connect with Chinese audiences without compromising their cultural identity.

Lan pointed to Sofiya Nzau's Kikuyu vocals on Zerb's hit "Mwaki" as proof that authenticity, rather than imitation, is what draws international listeners in.

According to Lan, simply getting a song onto Chinese streaming platforms is only the beginning.

China's digital ecosystem operates differently from most Western markets, with platforms such as QQ Music, NetEase Cloud Music, Xiaohongshu, Weibo and Bilibili each attracting distinct audiences and content styles.

Many international artists, Lan noted, fail at the basics, things like inconsistent Chinese naming, incomplete profiles on local platforms, or a lack of content that helps new listeners understand who the artist actually is.

A listener might stumble upon a catchy chorus with no clear way to find the full song or learn more about its creator.

Rather than translating entire songs or forcing an image change to suit assumed local tastes, Lan said the focus should be on highlighting what makes a piece of music genuinely interesting.

The next step is helping new listeners understand the context behind it, whether through short performance clips with subtitles or explanations of cultural references within the lyrics.

One aspect Lan believes deserves more attention is the social nature of platforms like NetEase Cloud Music, where listeners do far more than simply play songs.

Users often leave comments, discuss lyrics, and share personal stories tied to the music, turning a song's page into a space where genuine connection with an artist can begin.

A comment asking what language a song is in or what a particular lyric means, Lan said, should not be dismissed as just another engagement metric.

Instead, such questions can shape future content, whether that means a short video explaining the lyrics, a behind-the-scenes studio clip, or a direct response from the artist.

Understanding which comments reflect genuine curiosity and which carry local humour or cultural references, he added, requires more than basic translation skills.

Lan's perspective is informed by a career spanning several corners of the global music industry.

Before founding Afrigo Culture Entertainment, he worked at TikTok on music content localisation and artist partnerships for the Taiwan market, before moving to Believe, where he handled artist and label partnerships, digital distribution and marketing coordination.

He also previously worked in music rights acquisition and artist partnerships across West Africa, an experience that shaped how he now thinks about long-term value.

Lan said that the key points include not just a song's immediate popularity but also how rights are managed and whether genuine, sustainable business relationships can develop around an artist's work.

For Kenyan artists without an existing audience in China, Lan said touring is not necessarily the best starting point.

A well-matched creative collaboration with a Chinese artist, built on genuine musical compatibility rather than nationality alone, may offer more value.

He also pointed to opportunities beyond performance entirely.

Kenyan producers and songwriters, he said, do not necessarily need an existing Chinese fanbase to contribute to a Chinese artist's record, so long as their sound fits the creative brief and the commercial terms work for both sides.

Songwriting, production and co-developed recordings, Lan argued, are all part of the international music economy that often gets overlooked in conversations about African music "going global."

Lan was clear that breaking into the Chinese market requires genuine investment rather than scattered, low-cost efforts.

Localisation, content production, creative development and project management all demand time, expertise and resources, and teams looking to enter the market seriously should expect to define clear objectives from the outset, whether that means growing a listener base, securing collaborations, or pursuing brand partnerships.

Through Afrigo Culture Entertainment, Lan said his team works with international artists, labels and music companies on market strategy, cross-border A&R, artist collaborations and local execution in China.

He encouraged Kenyan labels and management teams to consider the market to start with something concrete: a priority release, a clear goal, a realistic timeline, and a clear-eyed understanding of available resources.

"I have always believed that Kenyan music does not need to lose its identity to travel further," Lan said, adding that his hope is for great music to find new listeners while the artists behind it gain real opportunities to sustain long-term careers.