 in the morning, if it's Tuesday. Entrepreneurship Tuesday at Y254 Channel, as you can find us across all our social media handles at Michelle. Ashiro, as you can find me across all my social, in this particular interview, we dive into the insight. We are getting an insight into the music business. All right, so in studio, I'm joined by Waruk's productions. That is, in studio, I'm joined by Warashira Warukira, who is the CEO of Waruk's production. So, starting us off, Karibusana. Thank you so much, Michelle. You're looking flying? Thank you. You're good? Yeah. How is your day? Well, it's a bit chilly today, but I'm well. Wait, so starting us off, so what is Waruk's productions all about? So Waruk's productions is a music production studio. It's based in a place called Banana in Kambu County. And we deal mainly with the vernacular music production, especially kikui music. So that's your niche? Yeah, that's my niche. But any chance you have a client in this case, an artist who wants to do different music, not just vernacular from Waruk in Kambu. Is it possible? Yeah, very possible, because I am not just the one who produces there. I have another amazing producer called Jamie Pierpod, who also happens to be the pianist for Ben Sol. So for him, he deals with mainly EDM music, but he can produce any other kind of music. So yes, we open our doors for other kinds of artists, but our main thing is just vernacular. So when did Waruk's productions start? It started in 2019. We started and. What was this variation? The process of starting Waruk's production studio? So I have always been passionate about music. I was a church pianist for a very long time. And I wanted to start a studio whereby I could bring in artists to come and express themselves. So I started off as a music teacher, and then I applied for a grant. And that's how I actually started the studio. I got a grant from MasterCard Foundation. And yes, I started the studio, and here we are. All right, so take us through. Because I am 100% sure that opening up a studio, it's not cheap, especially when you look at the equipments that are required, because you need, at the end of the day, you need to produce quality content. So how did you go about acquiring all the studio, your studio equipment, and was financial aspect of a challenge? Yeah, it was quite a challenge, because even, let's just think of purchasing earphones. They are quite expensive. But what I did, I was thinking of going for alone. But loans, you can't get alone unless you have a good collateral. And so I started applying for grants. I started pitching my idea, my studio idea to investors, because I was starting a studio that could help people create employment opportunities for producers, and also create a space whereby artists could make their music. So I pitched my studio idea to people. I pitched it to organizations. I pitched it to banks. And eventually, I got a grant. And through that grant, I was able to acquire my studio equipment. Oh, right. Take a look, Varukhs, from Varukhs Basheera. Take a look. This is a very critical issue, especially for the young people who want to probably get into production, video production. And also, if they want to be music producers, the very essential thing to look at when it comes to getting the equipment and investment, having someone who can invest in you. So how did you go about it? And who are the guys who helped you out? So at first, you'd be surprised to know that I had never done music production anywhere. I have a degree in business administration. So I went online first. Like, the first place I went was online. What do I require to set up a studio? And so I saw that you need to get the gear, the gear that you need and the prices for that. So I started visiting local studios. I went to Nakipo. I went to other studios here in Nairobi. And I would meet with producers. I wanted to do some sort of a baseline survey, talk to them and ask them what are the best equipment I should use for the studio. And I was comparing that with what I was seeing online. And so I knew that I didn't want just to go into a music store and then start, I want a mic. I want a mix. I want this. I went to the store to look for the prices and all that. So when I had all the gadgets in a piece of paper or in an Excel sheet, now I was able to go to people and tell them that, look, I need to set up a studio. And this is the cost. These are the best equipment that I need. And that's how I went about that. That way, I was able to get the best equipment, which produces quality music. Yes. So consultation was really good. So I only mentioned that your background is in business administration. How did you gain these keys when it comes to music production and being a music producer? So normally, I say that if I want to do something, the internet is the place. We are lucky that we have the internet in our age. Very true. I wanted to learn how to play the piano when I was young. But any time I would go to the guy who was playing in church, he would say, it took so long for me to start learning how to play the piano. But when I got to college and I was here studying and feeling like I want to do music, so I went online. And I would start playing piano and guitar. So I taught myself how to play piano and guitar. So when I started the studio in 2019, I employed somebody to work in the studio. And the person, however, wasn't so honest. And so I wanted him to work in the studio where I could go and do some other businesses. But then when he left, I went online and I started looking about how to go about creating beats, music production. And it took me a few months. And I was able to create some music for artists. And I was lucky enough to actually meet an artist like Moringa, who actually does vernacular music. And as music went viral, which created a good opportunity for me to actually reach out to other people. So teach. What is Moringa? Moringa does covers. So you can find like Indochene. She did a cover that really is doing well. And another one by Wanganango. So yeah, I learned a lot from just going online and teaching myself how to play and how to produce. All right, so do you have like, I'd like to find out a couple of services that the studio offers. Because I know you do a lot of stuff. You do a lot of creative stuff. So what exactly does Veruk's production provide to potential clients? So first of all, we make music. That's the first thing. So we produce music. We also produce corporate jingles. We produce voiceovers. We also make audio books. So basically anything that is audio related, we can make that. And also we outsource videos. So we have like a pool of videographers and photographers. So when anyone comes on board and they want to make a song, we provide those services for them. Also, I have been learning artist management. And currently I am offering artist management services. I am managing, the guy I just told you, he's called Pia Podjemi. He's been Sol's pianist. So I have been using my business administration skills to actually like help artists because there is a gap. Most artists focus on their art and they forget the business side of it. So that's another service I'm offering. Okay, so the other thing that you do, how would you say, how do you monetize from all this? So monetizing is just looking at what is the market offering? What are other producers charging out there? What is the acceptable fee? And we look at the value we offer. An artist will come into the studio and they will say, I want to make a song. And you start advising them. You tell them that I can make a song for you and then you just go and do whatever you want to do with it. But for us, we go an extra mile. We tell them that there are ways you can put your music out there. There are platforms you can put your music out there. So we educate them. And for that, we charge based on that, on the value that we give the artists. And how do you build your credibility for potential clients? We have this story that has been sending last week of Wilkins for Delay. Allegedly that he has been duping the young artist Trimio. And a couple of other stories from a lady who does podcasts there with Kori Johar. Wilkins for Delay was the management in charge of all that. So how do you build your credibility to your potential clients and ensuring that actually this is going to be clean, professional, sort of kind of business? So at first, when a client reaches out to us, we send them a Google Form. Like we tell them to write for us down whatever they want to do, whatever services they want from us. And then we don't ask them to send us any money first. They have to come to the studio, we talk. And then they showcase the music they are making. And then they only pay a deposit after we have made a bid for them. They don't have to pay everything at once. For us, we believe that the client should pay us when they are satisfied that we have delivered the services that they needed from us. Oh, and what is your marketing strategy? Currently, we are using social media mainly. We post on our social media accounts. And of course, the word of mouth. Any client who comes to our studio, we believe that if we give them the best services, they will go out there and they will say, I made my music from Marook's productions. And I think you can also get the best services there. All right. OK. So for want to be a music producer, to run a music production sort of kind of business, does one need to be licensed or even certified? Yes, I think to run any business, you need to be licensed and to be certified. Because at the end of the day, there are services you will need. You know, I could have chosen to like, when I started, I was working in the house, but I still went for the license because I knew that if I go to the bank and I say probably I need a loan or I need to open a bank account, the first thing they ask you is, are you licensed? You know, how can we verify that your business is real? So I say that the process is tricky because it's expensive. And especially when you are starting, you don't have funds to actually spare. So most people choose to maybe do it later. But I believe that when you are doing something, do it right when you are starting. So it's very important to actually get a license. All right. For someone who is watching this conversation and they are potential clients, so guys who are into the music industry artist, what would be your advice when it comes to choosing a producer who has the best interest, who has your best interest at heart and it's not just business as usual? So I normally say this to anyone I meet. First of all, know who you are as an artist. What is your artist identity? You know, once you know that, then look for a producer whose vision aligns to yours. Right? You know, there are producers who just want to make your music and tell you, go and bless your people with your music. Right? They'll be like, I've done my music in the booth. They'll be like, I believe you're done. This is good. Here? Have it and go. Have it and go. Yeah. So normally I say this, do you know yourself as an artist? Do you know what you want to achieve? If you are a gospel artist, are you just going to go to anyone just because their beats are awesome or they are known? Are you just going to do that? Or are you going to look for a producer who actually gets you and gets your vision, sits down with you and says that, for the next one year, can we actually focus on creating this, creating a vision, creating your business? At the end of the day, once you get that, then you realize that you get some chemistry between you and your producer. The point that the music you are making is helping both of you, right? It's not just about the money, but it's helping both of you. So building a rapport is important? Very important, yes. All right. For lack of a better word, I'm just going to say it either way. So how does one identify when to be cheap, right? When to be cheap in their music career and when not to be? Because when starting off, it's a struggle. It's a struggle for you to get your market niche and everything. So they're going to be identified as cheap. So when to identify when to be cheap in your space and when not to be? I think you should never be cheap in your space. Like, normally when I say my truth is, you know your value, right? You know your value and you know what you can offer. Yeah, but to be honest, when it comes to this music space, even though we would like to think in the positive way, which is actually good, I don't care for that 100%, but things don't always look out for everyone, right? There are places where you have to struggle, where you have to get paid by exposure. OK. So exposure. Exposure. So when do you identify that it's enough? I've had enough exposure. I need to get paid for the value I'm bringing to the table. So I've been telling some of my artists this. You know, they get invited to go and perform for weddings, for church services, and then they are told, come grace our events with your music. With your presence. With your presence. And most of them they go because they are like, oh, there's a place I can perform and I will tell people to subscribe. Can I also build up your skills, probably? No, no, no, no. If there is one thing I have noted is that most people in Kenya or even in our part of the world, they don't respect the creative industry. OK, yeah. So yes, yes. So for them they are like, if you are not a known artist, they'll be like, ah, this one compared to a platform. Like he will come and shine, and then that's it. So you as the artist, you actually need to know that you are bringing something. You are bringing an entertainment value, right? That grace, that gracing the event is something. So you can be like assertive and say, look, I will need at least fair. I'll need at least a thousand shillings. At least ask, be brave and bold enough to say that I need to be paid for the services I am, right? Because if we keep like entertaining that. Yeah, people did it. Even our parents will never see the music industry or the creative industry as a business. So most of them they are like, yeah, but he is my friend, but she is my friend, so I have to go. No, don't go. Because somebody will hate you for that. But later they will appreciate that. You say no, because you believe that your music has value. And once we do that, people will start seeing the creative industry as something that has value. Yes. So clearly close mouth don't get fed. Precisely. Speak out what you want. Speak out what you want. So on that question still, when do you identify enough is enough with exposure at what particular point? When you're hungry, you know? Like, look, if you have never been hungry, then you would know. Look, the thing is, like for me, I used to play for church like for like 10 years. And it was fun. Like, I appreciate that I was given the chance to play there and lead the worship and all that. But then you get to a point and then you realize that now you're out of school. You no longer depend on your parents or anyone. You depend on yourself. So you have to make a business out of your talents. And that is when you actually realize that enough is enough. Anything that you do, you have to monetize it. So that at the end of the day, what are you going to eat? Oh, yes. You have bills to pay. You have bills to pay. So I think that is the moment that you actually realize that you have value in what you do. All right. So we're starting off in your business. What are a couple of conscious decisions that you took to scale up the business to what it is, to where it is right now? So training was important. I figured that building capacity is one of the best things you can do for yourself. If you believe that you want to start selling Mayai Pasua and you have only been purchasing, you've never like done anything to actually know how it is done, you can just buy that catroli, alafu, you buy eggs, and then you think that you're going to make something out of it. Think building your capacity and keeping on learning. Find more knowledge. Create, find mentors, find people who can help you. And I'm always like in the lookout for people who are experienced. I can go to them and ask for advice. And that has really helped me. It has helped me also in the selection of the teams. And that has been a great thing for me. Do you work with the team in the field of how many? Yeah, I have in the studio for the music production. I have one producer. And I run my studio runs two social enterprises. And in those two, there is also another team. For instance, we learn a program called Net Billanet. Net Billanet is a program that creates digital libraries in the rural areas. And I have a team of five people. And we are about to create a digital library in Dandora. Yeah, starting from early next month. Giving back to the society? Yes, yes. And also, I run another program called Warukh's Live, which intends to create awareness on mental health for young people. That one, the first episode will be live, I think, this week on Friday. So again, I have a team there. So my studio has about eight people right now. So when it comes to the mental aspect of it, mental program, which is going to be online, is it going to be on location? It's online. So we are going to be shooting. And then we have the live interviews mainly on YouTube. And also, in the future, we are going to have a concert whereby we can invite a young person to come and share their stories, share how they have dealt with stress and anxiety and all that. And with some music, of course, because we make music. So we want to use music as a tool of communication. Yeah, and the same music is the only thing that can hit you and don't feel pain. Precisely. All right, so would you say that this particular space you're into, the music business, is it profitable? Yes, it is profitable. When you are starting, of course, challenges of being an entrepreneur, they are real. But for me, I don't look at the challenges I face. I look at the prospects, the future prospects. There are very many ways you can make money from music. Unfortunately, people think that it's only when you are selling a CD. Or you have a concert also. When you have a concert. But there are very many ways. I mean, there are all these digital distribution platforms where if you just put your music and people download, you get paid. Otherwise? Pardon? Otherwise. Yes. OK. Apart from that. Other ways to make money. I mean, if I am an artist, I can be hired by a company to make a jingle for them. Those are not the traditional ways of making money as an artist. You could teach music. You could write music for other people. I don't know why some people think that they have to write their own music. And so these are some of the things I feel that if we embrace them and we build our capacity, it's a very profitable industry. So, yes. You mentioned challenges. Let's look at a couple of challenges you face as a business. Unfortunately, I started my business when COVID-19 came. And so I had just started identifying talents. And then, of course, in Kenya, mainly, we don't really rely on the digital world, mainly. So shows are important. Concerts, performing for people is important. So the main challenge has been the fact that artists are afraid of making music, because they are like, where am I going to perform? Right? Social distancing. Yeah, it's an investment with no returns. So the challenge has been we are making music. We are keeping it as we find ways through which now we can release our music. I think that has been a very big challenge. Also, raising money to do the videos, raising money even to keep the business going, because at the end of the day, if you are not having a lot of artists coming in, I mean, you have to find other ways, other creative ways to make money. Oh, very true. Yes. OK. So do you have any other projects coming up that people should look out for? Yes, I am a singer. Personally, I have an EP coming up. OK, we're just finding out this right now. Yeah. So that is a project by the studio. So normally, the way we run our projects in the studio is we have a number of artists. And we work with EPs. So we have an album coming up. We have my album. There is another guy called Pier Podgemi. It's an EDM, a profusion album. We have now the Net Bill and Net project that's coming up. So guys can just keep checking us out, because we are doing some amazing work out there. All right. What's your name? Warooks. Warooks. Just like the studio. OK. I mentioned earlier that you look like Masai, who is one of the great creatives who is working here on Y254, in Tamulizahiswani. Sorry, go ahead. You guys look alike. Come on to co-related. Yes. Hey, maybe now I'm nice and meet. All right. So how can people find you across all of social media handles if they want to keep this conversation going? On social media, we are Warooks Productions. We have a YouTube channel. We have a Facebook page, Warooks Productions. Just Warooks Productions. Instagram, Warooks Productions Kenya. And also, I think the easiest way you can find is WarooksOfficio. If you go to and find WarooksOfficio, I have put all my links, like, on the bio. Yeah. All right, so what's our Warooks? You also do drawing. Yes, I do. So it's Warooks Gallery. Warooks Gallery, yes. If you open WarooksOfficio, you find the link for Warooks Art Gallery. I do pencil portraits. You will find Warooks Live for their mental health. And I challenge this. It's very easy if you go for WarooksOfficio. Yes, if you go for WarooksOfficio Instagram page, you'll find all the links there. All right, thank you very much, Warooks. So before we leave, you're going to listen to your song and then we'll be right back to sample your comments on our Facebook page. That is Oshira Warukira, who is the CEO of Warooks Production. He's also a music producer and a lot of other things when it comes to the creative space. So right now, we're going for a musical break. Katesi Owarooks, he's a singer. So we'll be listening to his song and then we'll be right back and I'll be sampling your comments.