“My world of percussion has always been shaped by the very best. I have performed with world-class artistes across the globe, and when it comes to my art, I know I am different.”
Those words capture the essence of Idd Aziz, a high-flying Kenyan Afro-house singer and songwriter whose sound has travelled far beyond his homeland.
In this exclusive interview, he reflects on dining with the elite of world music, commanding airwaves across Europe and Southern Africa, and staying rooted in authenticity in an ever-shifting industry.
His musical journey began remarkably early. By the age of 15, he was already touring internationally, absorbing influences from diverse cultures and musical traditions.
Over the years, he has fused expressive, compassionate and soulful elements into a sound that feels both deeply African and universally resonant. “I do it authentically,” he says. “I’ve been featured on several albums and now I’m truly humbled and honoured to be featured on the Africa Cup of Nations album.”
His résumé reads like a roll call of African music royalty.
He has shared stages at major global festivals with icons such as Angélique Kidjo, Salif Keita, Alpha Blondy and Youssou N’Dour.
His own catalogue boasts tracks including Kamili, Lua, Bado and Kibe, among many others.
Before launching his official career in Kenya, he spent a formative period in Norway. There, Aziz performed with several bands while honing his craft.
“It’s where I fell in love with traditional drums and truly grew fond of percussion instruments,” he says.
When asked about the state of Kenya’s music industry, Aziz does not mince his words. “The industry is just floating,” he says, attributing this to a crisis of identity.
“We have neglected our beautiful, authentic sound and culture. Kenyan artistes are incredibly creative, but we do not invest enough in developing our own sound. We jump from trend to trend, hopping onto genres without research.”
He adds that he has deliberately infused his roots and culture into every major release to demonstrate what is possible.
“Yet many turn a blind eye and a deaf ear. Then you hear complaints that Kenyan music is not played outside the country, apart from a bit in East Africa. Meanwhile, artistes like Idd Aziz are known worldwide.”
With a sleek voice and an instinctive ear for music, he credits his father for planting the first musical seed that grew into a lifelong passion.
His versatility has seen his Afro-house tracks top charts in Europe and Southern Africa. “The Western world adores our heritage and culture,” he notes. “That should be our priority as creatives. It should be the backbone on which we build.”
After years spent abroad, he has now announced his return to Kenya. “I’m back. This is home,” he says. “I want to do so much here with my people, despite my heavy touring schedule this season.”
Recently, he delivered a show-stopping performance on Canal+’s prime-time programme J-1, where he performed Beautiful Day, the first single from the upcoming Africa Cup of Nations (AFCON) compilation album.
The performance quickly became one of the most shared moments on French social media, with viewers praising his boundless energy and stage presence.
“For me, it was a reminder of how music connects the world by seeing people smile and dance even when they don’t necessarily understand the language.”
The moment not only elevated his Afro-house sound but also cemented his status as one of Africa’s most dynamic and globally resonant performers.
Going forward, his mission remains unchanged. “I want to keep pushing and make more good music that heals the world.”
With a packed festive-season schedule that will see him perform across multiple continents, he acknowledges that catching him live will be a matter of luck. Still, he insists the Kenyan industry must evolve.
“We need to learn to work together instead of competing. Ego must be set aside, and we must elect the right leaders in CMOs. People who understand music and can genuinely fight for the industry.”
Without unity, he warns, the industry risks collapse. “Unless Kenyan artistes unite, the industry will crumble. Media houses and event organisers are part of this too. The problems are deeply rooted. We need fresh soil, fresh systems and fresh leadership to rebuild genuine roots.”
Asked whether his journey has been smooth, Aziz is quick to dispel any illusions. “Not at all,” he admits.
For nearly two decades, he performed with the same band until he lost what he calls its backbone, Zac, a musician he describes as the best in the world and someone who truly loved his music and voice.
“When Zac left us, I stopped playing with the band because no one could replace him. We had a plan, and the success I have today was part of that plan. I know wherever he is, he’s smiling and saying, ‘Yes. We’re doing it.’”