When Kenyan guitarist, composer and producer Kato Change takes the stage alongside American saxophonist and composer Kenny G, it will be more than just a performance.
He says this is a clear indication of how far African music has come and how much further it can go when given the right support.
“Sharing a stage with such a legendary composer is a signal that African talent is ready to stand shoulder to shoulder with global icons,” he says.
“It is also proof of what can happen when more brands step up to support the arts. Stanbic Bank being the main sponsor of the One Night Only concert made this possible. I only wish more brands would see the value in backing Kenya’s creative industry because beyond the music, it’s an investment in jobs, in culture, and in our place on the global stage.”
Kato has spent years carving a unique space for himself both at home and abroad. He describes himself as “a seeker and a connector”, a restless experimenter constantly blending genres yet anchored by authenticity.
His sound, he says, is an honest reflection of his upbringing in a family that exposed him to jazz, soul, hip-hop, RnB and Kenyan greats like Ayub Ogada and Eric Wainaina.
“There was no escape. The diverse palettes of my family rubbed off on me.”
His path into music was not marked by one lightning bolt moment but by many small sparks. A toy drum kit gifted by his parents at age three, and later, a rock band he formed with his cousins (Jaaz, Shaq, Zamar Odongo) dubbed UETA, made him realise music could be more than a hobby.
“That period was key,” he says.
Since then, Kato has grown into one of Kenya’s most visible musical exports, performing at festivals like Rock in Rio, working on Grammy-nominated projects with Brazilian singer Luedji Luna, and collaborating with global stars from Burna Boy to Ne-Yo.
Yet he insists his local collaborations have been just as grounding.
“Working with Kenyan vocalists and instrumentalists helped me understand how to make music that resonates at home while still reaching outward.”
At the core of his artistry is collaboration. His debut album, The Change Experience, was intentionally described as a “collaborative journey,” drawing on diverse voices and moods.
“Collaboration is central to my work, this is how I discover new textures, rhythms and ideas.”
That philosophy has carried him through international residencies in the U.S. and Brazil, where music became his universal language, bridging gaps where words could not.
And as for tomorrow’s concert, he promises a proper fusion of jazz with African rhythms, traditional vocals with Afro-house textures. “It’s not just a concert; it’s an experience,” he explains.
Off stage, the charismatic performer is far more introspective. He spends time sketching, playing basketball, cooking, or just quietly reflecting.
“Probably closer to an introvert. I need time alone or in small company to recharge.” But once the lights come on, his energy shifts.
His before hitting the stage rituals include warm-ups on guitar, a quiet prayer, and careful tuning which helps him focus before stepping into the spotlight.
Beyond music, Kato is passionate about education and cultural preservation. He champions programs that give children access to instruments, advocates for the celebration of traditional African sounds, and often engages in cultural exchanges to ensure equity in music representation.
“I want to make sure artistes from Kenya and Africa are seen on global stages,” he says.
Looking ahead, Kato is working on several projects: a hip-hop/RnB album linking Kenyan and Brazilian musicians, an Afro-house EP, and a jazz collaboration with Baobab Studio and the Mijikenda community.
His biggest dream remains a full world tour under his own name. “I want to leave behind a signature sound that future generations recognize as part of Kenyan and African heritage.”
All said and done, Kato wants to be remembered as “someone who was curious, generous, and brave in the music he made; someone who built bridges between sounds and people; someone who left Kenya’s music richer, more visible.”