Nyce Wanjeri’s revelation & truth about money in Kenya’s creative scene

When actress and content creator Nyce Wanjeri, popularly known for her role as Shiru in Auntie Boss shared a raw and emotional revelation about being auctioned, it opened up an important conversation about the creative industry.

Behind the laughter, glamour, and polished social media images, her confession peeled back the curtain on a harsh reality many creatives face financial instability.

Last month we were auctioned. It has been the worst moment of our lives. From June till now, we’ve not been okay but we’ve been pushing. Everything about us, we lost all electronics, from the washing machine, fridge, TV, everything. Thank God hawakubeba kagari ketu.

Her openness highlighted how even the most recognisable faces in Kenya’s entertainment scene are not immune to financial struggles.

The harsh reality behind the spotlight

The entertainment and creative industry is often romanticised as glamorous with fame, opportunities, and financial success.

Yet, behind the cameras and flashy photoshoots lies a different story. Many creatives operate in an unpredictable gig economy where income is irregular and financial security is almost non-existent.

For most, acting, comedy, or content creation does not guarantee a steady paycheck. Many depend on short-term contracts, brand deals, or event appearances. When gigs slow down, bills continue to pile up.

Lack of financial structures and support

One of the biggest challenges for Kenyan entertainers is the absence of strong financial systems to support creative work.

Unlike in countries where royalties, unions, and long-term contracts are standard, Kenyan artists often work without clear agreements or protections.

Many actors in local shows do not earn residual income when their shows are re-aired on television or streamed online.

Musicians struggle with delayed or non-existent royalties, and online creators often rely on inconsistent brand partnerships that dry up anytime.

Without stable income sources or access to proper financial guidance, even the most successful creatives can find themselves in financial distress.

Living beyond their means

Another factor fuelling financial instability is the pressure to live up to public expectations. Fame often comes with an illusion of wealth, one that pushes many entertainers to spend beyond their means to maintain relevance and status.

Cars, expensive clothes, and high-end lifestyles have become the norm in the influencer age. Social media magnifies this pressure, with fans equating success to appearances.

This creates a cycle, artists spend to look successful, only to fall into deeper financial distress when gigs slow down. This prioritises perception over sustainability.

The inconsistent nature of income

Unlike salaried jobs, the entertainment industry thrives on seasons one month, you could land a lucrative deal, and the next, struggle to afford rent.

For many creatives, the lack of financial planning or a savings culture makes it hard to survive dry seasons.

Nyce’s revelation about being auctioned highlights this fragility.

Brand deals and the exploitation factor

Brand collaborations are often viewed as a lifeline for entertainers. However, not all deals are fair or consistent. Some brands delay payments for months, while others offer exposure instead of compensation.

In a highly competitive industry, many creatives accept such offers to stay visible, further perpetuating the cycle of underpayment and financial instability.

Without standardised contracts or unions to advocate for fair treatment, entertainers remain vulnerable to exploitation and unpredictable pay.