TAKE 5: Dan Aceda

Dan Aceda is an award-winning musician best known for his penchant for storytelling and engaging live performances. He has released four studio albums and has performed all over the world including, Europe and Latin America.

1. You've performed in many countries, selling yourself as The Crown Prince of Benga. Why this title? Besides Kenya, which other places have you enjoyed performing most?

The moniker came from a journalist. I think it was Daily Nation’s Amos Ngaira who first called me that - I just went with it! I have performed in many venues across the world, but I have to say my favourite performance so far is the one I held at Nyahururu Market on one of those podiums used for crusades. It was raw - we were playing in the market, in the midst of stalls. There was no pretence with that audience, they simply walked away if they did not like the song. Such an experience teaches you humility.

2. Congratulations on your new album. Most of the music sounds like it is venturing out of your traditional benga persona - some songs sound as if they're leaning towards R&B, some towards classic Kenyan genge, almost. Are you changing your sound or just exploring?

True, the music is a lot more diverse than it was last time I did an album - it’s really just about expression. For this album, I recorded over 60 songs and worked with over 20 artistes and producers. The final list is the one that most closely represents who I am now and what I want to be about, so yes, the sound has changed.

3. Who would you love to collaborate with, someone you haven't already worked with, locally?

That list is very, very long, but I would definitely like to work with Kush Tracey and Le Band. As soon as possible.

4. What do you think about scoring in Kenyan film, particularly series that show on free-to-air television? Is there money for musicians in that?

I actually won a Kalasha Award for my musical score (soundtrack) for "Simiyu Samurai". I also provided the score for "Jane and Abel" and "Sumu La Penzi" among a few other projects. Kenyan film is in a very exciting space right now and I am very happy for them. I think there can be money there for musicians but it needs patience and collaboration. In my experience, producers are under huge pressure, time-wise, to deliver work with very tight budgets. It’s just how it is, so it takes long-term relationships and willingness to collaborate.

5. Why is it that sometimes Kenyan artists find it difficult to properly price or rate themselves? What has worked for you in terms of finding bravery to ask for what you are worth at the risk of being mocked by clients or event organisers?

I think in general, people in the service industry struggle to properly bill clients and then collect money. I think the situation is the same for lawyers, architects and other professionals. I try as hard as possible to be as professional as possible. Little things many of us take for granted, such as communicating on time, go a long way. But I have also learnt that diversification is extremely important.

Finding various way to monetise your work is helpful and can cushion you from needing to take a low price on a gig.

About the mocking, yes, it happens, especially with those just starting out, however, as long as the organiser is professional, usually the conversation is quick and clear.

The market sets the price. If I get 10 calls and everybody wants to pay X shillings, then that’s my price, however, the day somebody says they will pay me X + 10, then my fee increases.

The fact is that you can’t really just increase your price if nobody is willing to pay it, that’s not good business sense. You must listen to the market.