Influencers are outsmarting musicians and rewritting rules on how to sell out shows

Kenya’s live music market is on a steady rebound. According to PwC Africa's Entertainment and Media Outlook 2025–2029, the country’s live entertainment revenues are projected to grow at approximately 2.1% annually, indicating that concert culture is recovering and fans are returning. 

But while the pandemic nearly silenced the stage, comedians, influencers, and online creators didn’t just return; they rebuilt. 

Through carefully branded live shows and fan-centric marketing, they’ve created a blueprint for sustainable entertainment businesses.

Musicians, meanwhile, often remain tied to traditional promoters, waiting for event bookings rather than owning their own stage. The difference? Creators build communities, not just audiences.

Case study: Njugush’s TTNT

Comedian Timothy Kimani, better known as Njugush, has turned his live show Thick ’N’ Thin (TTNT) into one of Kenya’s biggest entertainment franchises. 

According to the comedian, TTNT Season 5 drew about 6,000 attendees at the Sarit Expo Centre, with ticket prices ranging from Sh1,000 to Sh3,500.

What’s striking is not just the turnout but the model. 

Njugush owns the event outright, from ticketing to branding and merchandising, meaning the profits flow directly to him and his creative team. 

He has built TTNT into a scalable property with multiple editions, digital releases, and merchandise through his own platform.

In essence, TTNT isn’t just a show; it’s a business. It proves that with a loyal audience and consistent storytelling, live entertainment can be both revenue-generating and deeply personal.

“I had wanted to do stand-up comedy for a long time, but I did not get the avenues, so the thing was to create my own avenue and run with it,” he told Pulse in an interview. 

Since the start of his live shows, many content creators have put up their own shows, including Crazy Kennar, Austin Muigai, Jacky Vike, Abel Mutua and podcasters like The Messy Inbetween and Mic Cheque. 

Case study: Sauti Sol’s SolFest

Sauti Sol has also understood the power of controlling the stage. Their artist-owned festival, SolFest, is one of Kenya’s largest homegrown concerts.

Reports indicate that the 2024 edition drew over 15,000 fans and grossed roughly Sh70 million from ticket sales alone, with merchandise adding another Sh10 million.

By owning SolFest, Sauti Sol shifted from being performers to curators. 

They decide the lineup, ticket pricing, sponsors, and fan experience,  while keeping a larger share of revenue. 

More importantly, they turned a one-off gig into a yearly ritual, creating something bigger than a concert: a cultural event.

The lesson for other musicians is clear: promoters may offer convenience, but ownership offers legacy.

Why comedians and creators win the live-show game

Creators like Njugush, The Messy Inbetween (TMI) duo, and Crazy Kennar have mastered a formula rooted in control, community, and creativity. 

TMI’s “TMI Live Experience” events, promoted through their social pages and podcast channels, blend talk-show energy with audience intimacy, turning listeners into paying fans.

Crazy Kennar, meanwhile, extends his comedy brand into ticketed experiences and paid online streams via his platforms, proving that content can easily translate into commerce when audiences feel part of something bigger.

These creators understand three things that musicians often overlook:
 1. Revenue diversification. They monetise across ticket sales, digital streams, and merchandise.
 2. Direct fan connection. They build audiences they can talk to and sell to, without intermediaries.
 3. Brand consistency. Every show feels like a continuation of a story fans already know and love.

Musicians, on the other hand, often surrender these benefits to promoters. That arrangement may reduce risk in that promoters handle production and marketing costs, but it also limits ownership, profit margins, and creative freedom.

There is also a reputation risk if a musician is booked to perform at a concert that provides a shoddy experience. 

The musician’s playbook

For musicians eager to take control of their craft beyond streaming royalties, there’s a growing opportunity to build sustainable income through self-owned live shows.

 It doesn’t have to start at a stadium; the key is to think strategically, test small, and scale gradually.

The first step is identifying the core supporters, who are the loyal fans who always stream songs, repost your content, and show up for every gig. 

These are called “superfans,” and they form the backbone of any successful event. Musicians can start by designing an experience that speaks directly to them, even if it’s an intimate performance in a small venue.

Once they understand the audience, pilot a small show before attempting a full-scale concert. 

Think of it as a test run. A 200 or 300-capacity venue allows artists to experiment with sound, ticket pricing, and crowd engagement without overwhelming costs. The idea is to learn fast, refine the experience, and gradually scale up with confidence.

Next, the show should have a distinct identity. Branding matters. Think SolFest or TTNT. A recognisable name and theme can help turn any concert into an annual tradition, something fans anticipate each year. 

Revenue, too, should go beyond ticket sales. They could adopt a tiered pricing model, regular, VIP, and meet-and-greet, and include merchandise like T-shirts, signed posters, or digital content. 

This layered approach helps you maximise each fan’s willingness to pay while offering memorable value in return.

Promotion is equally critical. Use your strongest tool, which is your fame and influence on social media, to share behind-the-scenes videos, rehearsal snippets, and candid moments which can spark curiosity and build momentum online. 

People don’t just buy tickets to see you perform; they buy into your story.

Finally, treat each event as data. After every show, review what worked: turnout, profits, fan feedback, and sponsorships. 

Njugush often publicly shares his review of the event alongside the team that helps put together the show. 

Use those insights to improve logistics, fine-tune pricing, and elevate the next edition. In doing so, your live show becomes more than a performance; it becomes a brand that grows with you.

Kenya’s creative economy is evolving, and musicians who think like creators will lead it. 

Comedians have shown that selling laughter can be a thriving business. Musicians can do the same with their industry. 

Owning your stage is more than a business move,  it’s a statement of intent: that your music is not just sound, but an experience.