In the dynamic and ever-evolving pulse of East African music, where tradition and innovation seamlessly intertwine, one name is rising above the rest: Afamefuna. A multi-talented Kenyan-Nigerian executive producer, sound engineer, and A&R now based in Brooklyn, Afamefuna has swiftly captured the attention of the global music scene.
With the release of his debut EP i.r.l.., he has not only mesmerized listeners worldwide but also secured a prestigious spot on Apple Music’s Isgubhu cover. This achievement is much more than a milestone, it’s a defining moment that signals the dawn of a new era in African music, where limitless sonic exploration takes center stage.
As we sit down with Afamefuna for this exclusive interview, we dive deep into his journey, one that spans continents, genres, and cultural identities. From his beginnings in Nairobi to his current home in Brooklyn, we explore the driving forces behind his musical evolution and the deeper meaning within i.r.l. Afamefuna’s story is a powerful reminder of the importance of cultural authenticity and artistic growth. It speaks to the global resonance of East African sounds and the pivotal role that producers like him play in shaping the future of music.
Join us as we uncover the creative vision behind i.r.l.. and discover what lies ahead for this incredibly exciting music powerhouse. The world is listening, and Afamefuna is ready to show us just how far the East African sound can go.
Music Custodian: Afamefuna, how are you doing today? You’re a producer, engineer, and A&R on an exciting journey between Nairobi and Brooklyn. If you could capture the essence of this moment in your life, what would it taste like, and what’s fueling you right now?
Afamefuna: Thank you so much for having me. This truly means a lot. I’m doing well, and I appreciate the chance to have this conversation. For anyone who might not be familiar with the name, I know it’s a bit tricky to pronounce, but I’m half-Nigerian and half-Kenyan, so there’s a bit of a blend there. My full name is Afamefuna Onyebadi Gatura. ‘Gatura’ is my Kenyan name, and the rest reflects my Nigerian roots. Funny enough, I’ve never been to Nigeria, but it’s definitely on my list to visit next year!
This moment is especially meaningful, it’s my first time releasing music independently, and being seen and heard in such a fast-moving industry means a lot. I’m currently based in Brooklyn after spending most of my life in Kenya, which has been a big shift both personally and professionally. I’ve been making music for over a decade and wear many hats: producer, sound engineer, A&R, and podcaster. It’s been a journey, and I’m excited for what’s ahead.
Where It All Began
Music Custodian: Let’s rewind to 2013 when Chief Keef and Young Chop lit a fire in you. What about their raw energy pulled you in?
Afamefuna: Growing up in the early 2000s, my music influences started with rock. I spent a lot of time playing PlayStation with my cousin, and games like FIFA were filled with rock soundtracks, which sparked my initial connection to music. Rock was also a staple in TV shows at the time, so it naturally shaped my early taste.
By the time I was in primary school, Kenyan music started to take off, and it created a lot of buzz around me. While I didn’t see myself as someone who’d pursue music at that point, I was soaking it all in. My journey into music production began around 2011–2012 when I was in med school and discovered trap and drill music. Chief Keef’s “I Don’t Like” blew me away, and learning that his producer used FL Studio sparked something in me. I downloaded the software, taught myself through tutorials, and started making trap beats non-stop; that was the turning point.
Music Custodian: What is the most memorable element when you look back at your earliest FL Studio sessions?
Afamefuna: One of the most memorable moments early in my music journey was discovering a YouTube producer named BusyWorksBeats. I’d binge-watch his tutorials and soak up as much as I could. By 2013, I felt ready to take the next step. I created my first beat tape, which had about 25 trap beats on it. Looking back, most of them were rough; any producer will tell you, your early work isn’t perfect. But there was one beat, “Fire Trappin,” that stood out. I uploaded it to SoundCloud, and to my surprise, it got reposted by a hip-hop page back when SoundCloud was the go-to place for music discovery.
That repost was a huge shock to me, it felt incredible to get recognition like that. It was a turning point, giving me a major boost in confidence and motivation. That moment made me believe I could do this, and from then on, I just kept pushing forward.
Music Custodian: You were part of that SoundCloud wave in Nairobi. What did that community mean to you?
Afamefuna: The community has always meant everything to me; it was the first place where I truly felt accepted and connected in the creative scene. I started during the early days of SoundCloud around 2013–2014, and that’s when I first discovered other artists in Nairobi who were just starting too. It felt like we were all on this journey together, figuring things out in real time.
One of my first collaborations was with an artist named Aces, whom I met through SoundCloud. That was a big moment for me. Not long after, I worked on an R&B song with Kaahvinya, and that collaboration marked a turning point. It wasn’t just about making beats anymore, it was about building real creative chemistry with other artists.
From there, I connected with rappers like Swahili Papi and Ekumbo, who also made waves on SoundCloud in Nairobi. Working with them was an incredible experience that helped me grow as a producer. The Nairobi SoundCloud scene was full of talent, and for many of us, it was a pivotal moment in our careers. Even a collective called EA Wave (East African Wave) played a huge role in pushing the scene forward. Their influence was incredibly inspiring and fueled my passion to keep going.
Music Custodian: How did your Kenyan/Nigerian heritage sneak into your ears, even before you realized it was influencing your sound?
Afamefuna: That’s a great question. My background is quite rich; my dad is Nigerian, and my mom is Kenyan, so I was exposed to a blend of musical influences from both sides.
On the Kenyan side, the local sound was all around me growing up. Between 2001 and 2008, during my primary school years, Kapuka was the dominant genre in Kenya. There was a record label called Calif Records that played a major role in shaping that sound. The Kapuka drum patterns and the overall vibe of that era stuck with me, and even today, you can still hear elements of that influence in the music I make.
From the Nigerian side, my dad, who used to live in Kenya and now lives in the U.S., was a huge music lover. He had a big collection of CDs, and that’s how I got introduced to icons like Fela Kuti. I might not have realized it at the time, but all that music was sinking in subconsciously. He also played a lot of reggae and Nigerian legends like Majek Fashek, and I remember songs like “Premier Gaou” being on heavy rotation. At the time, some of those sounds felt foreign to me, but they shaped my musical taste over the years. That blend of Kenyan rhythms and Nigerian soul gave me a unique foundation, and it continues to influence how I approach music today.
THE CRAFT & THE CLASSROOM
Music Custodian: You pursued a Master’s in Audio Arts at Syracuse, New York. What sparked that decision?
Afamefuna: My journey into music wasn’t exactly linear. I started out studying medicine, but somewhere along the way, my creative passions, especially music and drawing, started taking up more and more space in my heart. And if you’ve ever been in med school, you know it demands everything. Eventually, I made the tough decision to step away and fully commit to pursuing music.
In 2017, my dad, who had already relocated to the U.S., encouraged me to come explore new opportunities. I moved to Texas and enrolled at Texas Christian University, where I studied Combined Science, mainly biology and chemistry. But by 2019, I realized I wanted my education to reflect my true ambitions. That’s when I got accepted into Syracuse University’s Audio Arts master’s program. It was a game-changer, this beautiful fusion of sound engineering and the music business that gave me a full understanding of the industry.
Since graduating in 2020, I’ve been based in Brooklyn, fully immersed in the music world. No more school, just hands-on experience, exploration, and building my path forward in the scene I love most.
Music Custodian: How did that dual focus on engineering and business reframe your identity in the studio?
Afamefuna: That’s a great question. I have to shout out my Syracuse professor, Patrick McDougough, who shaped my production skills. I worked as a studio assistant, which gave me hands-on experience with recording, mixing, and even voice-over sessions. It pushed me out of my comfort zone and helped everything click later on while working on my recent project.
On the business side, Professor Bill Werde (former Billboard head) gave us a real look into the industry, publishing, licensing, and strategy. He even took us on a trip to L.A. to meet people behind the scenes. That knowledge has been priceless now that I’m releasing music independently; everything from building a press kit to handling distribution feels intentional and informed.
Music Custodian: You made a swift leap from intern to Head A&R at The Promised Land Studios. What habits or mindsets helped you ascend that fast?
Afamefuna: After finishing my master’s at Syracuse, I headed back to Kenya to complete an internship, and that’s when I joined The Promised Land Studio in Nairobi. I started as a music production intern, mainly making beats and supporting the creative process wherever I could. From the get-go, I threw myself into it, producing as much as possible and staying ready for whatever the team needed.
The studio soon shifted to working directly with artists, and one of the first I connected with was Boutross, a pioneer in Kenya’s Shrap scene. After he heard my beats, we kicked off a strong creative partnership. That experience led me into A&R, where I helped scout talent and eventually took on a leadership role. It reminded me of my early SoundCloud days, discovering new voices and building meaningful creative relationships, which still drives me today.
Music Custodian: What surprised you most when you left academia and entered the East African music industry for real?
Afamefuna: I wouldn’t say it was surprising, but what stood out to me was the incredible diversity within Kenya’s music scene. The range of genres is impressive, there’s gospel, R&B, trap, shrap, gengetone, habatone, alternative, and so many others. Each of these genres represents a unique scene within the industry, and that richness and variety is something that truly captivated me.
Music Custodian: As both producer and A&R, how do you manage when your creative self wants one thing but the strategic self wants another?
Afamefuna: I’ve learned that I work best in phases; I don’t try to wear all the hats at once. When I was creating my recent project, for example, I focused first on the beat production, then moved into recording, and only afterward started planning the rollout. That step-by-step approach keeps me grounded and clear-headed.
In general, I break my creative process into six phases: ideation, creation, A&R (figuring out who to collaborate with), marketing and promo development, distribution and partnerships, and finally, post-release efforts. Separating each phase helps me stay organized and give every part of the journey the attention it deserves.
Afamefuna Is Building With Artistes, Not Just For Them
Music Custodian: You’ve worked with Buruklyn Boyz, Boutross, and Lil Maina. Which collaboration shifted something in you creatively?
Afamefuna: I’ve been fortunate to work with so many incredible artists, and each session has brought something unique, but a few stand out. One unforgettable moment was working with Lil Maina. We built the track from scratch in the studio, and the whole process felt so organic. Seeing it blow up with over 3 million YouTube views and nearly 2 million streams was surreal. Another major milestone for me was producing with Boutross; it was one of my first real studio lock-ins with a mainstream artist and marked a big step forward in my career.
Then there’s the duo Yana and Diya. We worked on a track called “Diyani,” and their chemistry in the booth was electric. Watching them bounce melodies off each other in real time was inspiring. Collaborating with Buruklyn Boyz during Boomplay’s Booming on Boomplay campaign also opened my eyes to a completely different creative energy. Their ability to craft catchy flows on the spot was something else.
At the end of the day, every artist brings their magic, and each session teaches me something new.
Music Custodian: The Booming on Boomplay project was a huge moment. What was it like curating talent and overseeing something that big?
Afamefuna: The Booming on Boomplay project was a major learning experience for me. At the time, I was serving as Head of A&R at Promiseland Studio and was responsible for leading the project in collaboration with the team at Boomplay. Spearheading that initiative was both challenging and rewarding. I had the opportunity to record and work on all ten songs that came out of the project, and what made it especially impactful was the diversity of the artists involved. We had gospel artists, trap artists, singers, and rappers, it was a real mix of sounds and styles. That pushed me to step out of my comfort zone.
Before then, I hadn’t done much in genres like trap or R&B, but to deliver on this project, I had to dive into them and adapt quickly. It forced me to level up and expand my range as a creative. I’m truly grateful for that opportunity; it stretched me and helped me grow significantly in my craft.
A Sonic Coming of Age
Music Custodian: The title i.r.l. is so reflective, why now? What life experiences shaped this project?
Afamefuna: This project marks a turning point for me. I’ve spent most of my career behind the scenes as a producer, helping bring other artists’ visions to life. But with i.r.l. short for in real life, I wanted to shift the focus and tell my own story for once. It felt like the right moment to step out from the background and create something personal.
The title reflects where I’m at emotionally and creatively. I’ve always been that quiet, behind-the-scenes type, locked in a room making beats, but recently, I’ve been pushing myself to show up more, to live more, and this project captures that transition. Sonically, it’s inspired by the dance-R&B textures of artists like Kaytranada, and everything about it came together naturally. It’s a reminder to be more present, and for me, that makes it deeply special.
Music Custodian: Each song features a different Kenyan female artist. That’s intentional. What was the vision behind that?
Afamefuna: The way the project came together was completely organic; it wasn’t planned to feature only female artists, but that’s how it unfolded. The collaborations happened naturally with artists I’d connected with over time.
For example, I’ve known Terrianne Iraki since the SoundCloud days, and when I reached out, she was eager to collaborate. I met Zowie Kengocha while working in a Nairobi studio, and her talent instantly stood out. Zaituni Wambui’s energy caught me the same way during a 2022 session, and Stacy Kamatu came into the picture after I heard her remix through a Nigerian friend.
What’s even more interesting is that the entire project was created remotely. While I was in New York, three of the artists were in Kenya, and one was in the U.S., yet everything clicked perfectly. The themes of love, independence, and sensuality naturally emerged, and the songs flowed together seamlessly. I honestly love every track, each bringing its unique vibe. But “Rain Drops” stood out to me first, though now I find myself rotating through all the songs; they each resonate with me in different ways.
Music Custodian: You’ve said this is your most personal work. What story were you telling that only you could tell?
Afamefuna: This project is both a personal milestone and a message to younger producers in Nairobi that we can be as visible and influential as the artists. It’s about stepping into the spotlight, not just behind the scenes. A key part of the project is the voice notes from a close friend who supported me through moments of doubt. Her words of encouragement, reminding me to take it one step at a time, helped me push through the anxiety of whether the project would resonate. Her reminder that everything I was striving for was already inside me became a central theme.
The core message is that anxiety is normal for creatives, but pushing through it brings clarity. Often, the answers we seek are already within us.
Music Custodian: People have compared your sound to Kaytranada. But your roots run deep in East Africa. How do you blend global aesthetics with homegrown textures?
Afamefuna: What sets this project apart is the artists’ delivery and the fusion of Western sounds with local languages. While sonically it fits into the Western music landscape, I encouraged the artists to incorporate local languages, like Kiswahili, to blend the two worlds. For example, on “Not the One” with Zaituni Wambui, her rapping in Kiswahili adds a unique touch. It’s about keeping our roots at the forefront, blending African authenticity with global sounds. My goal is to bridge the gap between the Western industry and Kenyan music, helping elevate Kenyan music on the global stage, which is slowly but surely happening.
What Comes Next
Music Custodian: You’ve seen the creative and corporate sides of music. What do you think East Africa’s scene needs more of right now?
Afamefuna: I truly believe the African music scene is in an ideal position right now. We’re on the right track, but what we need is more visibility and greater access to opportunities on the international stage. What excites me most about the African music scene at this moment is that it represents the future.
If you look at the music industry today, especially in the streaming era, it’s been profitable for a while, but those profits are starting to decline. The industry as a whole is looking for ways to adapt and sustain itself. I even came across a post from Universal Music Group discussing Music Streaming 2.0, where they’re already exploring alternative revenue streams. That’s where the African music scene comes in. The global music industry needs us to succeed because we’re still an untapped resource. We’re positioned to lead the next phase of the industry.
So, my message to anyone in the African music industry, whether things are going smoothly or not, is to just keep pushing forward. I truly believe the future is incredibly promising, and Africa is the next frontier in global music.
Music Custodian: What does success look like for you beyond charts or streams?
Afamefuna: That’s a great question. To me, success is about feeling content with what you’re doing. If you’re releasing music that you love and believe in, that’s far more important than the accolades, the numbers, or the charts. I know that might sound like a cliché answer, but it’s the truth.
Many of the artists and public figures we see with massive numbers aren’t always fulfilled by the accolades and awards they receive. Sometimes, despite all the external recognition, they don’t feel truly content. So, my message to anyone in the music industry, and myself, as I too can get caught up in checking streams and tracking numbers, is this: If you make music that brings you joy and resonates with you, then that’s success.
As for any artists who want to work with me, I want them to walk away from our sessions feeling like anything is possible. Based on my past experiences with different artists, that’s the kind of energy I strive to bring to every collaboration.
Music Custodian: Can you share one small but unforgettable i.r.l moment that reminded you why you create?
Afamefuna: One of the moments that stands out the most for me was around September or October. By that point, I had finally recorded all the songs, mixed them, and sequenced them into the project you hear today. I remember sitting in my room and listening to the entire project from start to finish for the first time. As I listened, I was overwhelmed with emotion, I had tears in my eyes because I thought, Wow, I made a project. It was a profound moment of accomplishment, and honestly, I couldn’t believe I had done it. That moment is something I’ll always remember.
And just like that, Custodians, we’ve come to the end of this incredible conversation with Afamefuna. Thank you for welcoming us into your orbit. It’s been a joy. Your journey is rooted in heart, heritage, and fearless creativity. You’re not just making music; you’re crafting feeling, building bridges across worlds, and reminding us how powerful it is to dream out loud.
To celebrate Afamefuna’s bold artistry and creative spirit, we’re proud to feature him as the cover artist for the latest update of our Nairobi Grooves playlist. Listen and enjoy!
To our community, make sure to drop a comment, spread the love, and connect with Afamefuna across all platforms. His journey is just getting started, and you’ll want a front-row seat for what’s next.
