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It was 2019. Masego was in the middle ofhis sold-out set atNairobi R&B, the event series Faiza Hersi had spent years building.The crowd was hypnotized, but Hersi caught up in logistics, barely had a moment to take it all in — until she ran intoSauti Sol. Their excitement cut through the chaos.
“Look! Look at what you did,” they told her. At that moment, Hersi knew she was onto something. Kenyan R&B had a future, and she wanted to help shape it.
Few figures have been as instrumental in defining East Africa’s R&B landscape as Hersi.What started as a niche event platform quickly grew into a movement, carving out space for alternative sounds in a scene dominated by Afrobeats and gengetone. She has been the guiding force behind artists likeXenia Manasseh andKarun, helping them secure vital opportunities for local and international exposure.
But as the pandemic disrupted live events, Hersi realized artists needed more than just a platform — they needed a structured way to grow and sustain their careers. This realization led to the birth ofSoul Headquarters in 2021. Initially focused on artist management, the agency expanded into label services, PR, and distribution, becoming a driving force behind Kenya’s growing music industry.
“Kenyan artists are some of the most talented in the world. But the problem isn’t talent; it’s access. Many don’t know how to collect royalties, monetize on YouTube, or secure publishing,” Hersi tells OkayAfrica. “The reality is, most artists don’t have teams, distribution, or artist services. They have no idea where to begin.”
Now, as she builds Soul Headquarters, she is redefining what it means to establish and lead an independent agency as an African female music executive artist in East Africa.
One of the first artists to benefit from Hersi’s vision wasKarun, a Berklee College of Music graduate and formerCamp Mulla member. Despite her success and renown since being a teenager, Karun was searching for a more strategic, global approach to her career — one that prioritized out-of-the-box thinking, an all-women team, and a safe space to create and take control of her path.
Having known each other since childhood, Karun and Hersi began working together in 2019. Karun later introduced Hersi to industry veteranEmily Awino, who had previously worked with Sauti Sol andNyashinski. Together, Hersi and Awino launched Soul Headquarters.”We kind of came together with Karun. She introduced us to each other. And so she’s the first person we managed together,” Hersi recalls. “I was good at certain things, and [Awino] was good at the opposite things that I wasn’t good at. So we had a good synergy.”
After working together for five years, Karun became fully independent in 2024. Hersi says the goal is to develop artists so that they can eventually own and handle their teams. “She’s now fully independent, has her own team, and we’re so proud of her.”
Today, Soul Headquarters manages the careers ofManasseh, 19-year-old Kenyan singer-composerAltair Saïd, and Nigerian alternative soul artist AYLØ.
Karun, Faiza Hersi, AYLØ, Emily Awino, and Xenian Manasseh at the 2021 AFRIMA Awards.
Photo courtesy of Faiza Hersi.
Building Soul Headquarters came with challenges. When Karun’s project stalled due to creative disagreements with producers, she felt stuck and unsure about moving forward. Instead of waiting, she and Hersi pivoted — creating a new album in just two months. The result, Catch a Vibe, became a huge success, proving that artists can take control of their own paths. “We realized you don’t need anything else but what you have within you to get things going and get things done,” Hersi reflects.
A major turning point came whenThe Orchard, a Sony Music distribution company working with artists like Jorja Smith and Lojay, noticed her work. Their interest validated Nairobi R&B’s impact, paving the way for it to evolve beyond an event series. “At first, I freaked out — I had no idea what that meant. But because I didn’t know what to expect, I wasn’t afraid. I just went along for the ride.”
Despite her success, Hersi remains humble about her journey, acknowledging she still has much to learn and crediting mentorship as key to her growth. She highlightsWale Davies, Head of A&R Africa for Sony Music Publishing andTunji Balogun, Chairman and CEO of Def Jam Global, for guiding her and opening doors for her artists.
“These guys are at the top of their game,” she says. “They took me under their wing, then guided and protected me. They helped our artists access spaces where their talent could truly shine. It’s bigger than us — it’s about integrating our artists into a global network where they can grow and be seen.” Karun and Manasseh have been invited to writing camps in Lagos, giving them opportunities to connect with others in the industry.
Hersi with Karun and Xenia Manasseh at a writers’ camp in Lagos, Nigeria
Photo courtesy of Faiza Hersi.
Beyond the day-to-day challenges of running Soul Headquarters, Hersi grapples with broader issues of being a Black female executive andRecording Academy member in a male-dominated industry. She’s determined to change that.
“As a woman in this industry, you deal with nonsense all day, every day—but you figure it out. Some lessons come with age, but one thing is constant: men will always try to test you, not just in music but in life. They’ll try to trigger you, get a reaction, or undermine you. There’s a lot of gaslighting and condescension in this industry, and maybe it’s because it’s so male-dominated that they don’t know how to handle women in positions of power.”
She adds: “I want to create a residency, studio, and space where young women can safely pursue their dreams. No one should have to go to random people for guidance. This will be a safe place — come here, and we’ll help you. The door is open, and your safety will always be a priority.”
Hersi is also frustrated by the lack of unity and infrastructure in East Africa’s music industry, especially compared to West Africa, where she sees collaboration drive success. “They have a sense of camaraderie we lack. Here, we’re too busy tearing each other down with no strategy. When Wizkid and Davido clash on Twitter (no X), there’s always an album coming — it’s calculated. They know how to use drama to their advantage,” she says.
“Meanwhile, we argue aimlessly. Look at Kendrick and Drake — they went back and forth, but Kendrick turned it into a full rollout. The problem is that we have no blueprint, strategy, or person guiding us. We mistake these feuds for entertainment, but they’re part of the business.”
With her expansion in motion, Hersi is focused on bridging the gap between East African talent and the global stage. “One day, I want artists to look back and say, ‘We didn’t have a blueprint before, but now we do.’ That’s the legacy I want to leave behind.”
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