Interview
From Church Choirs to Global Charts: A Sofiya Nzau Interview
When Kenyan artist Sofiya Nzau’s voice first echoed across dance floors worldwide in 2023, few knew the incredible story behind the vocals. Her collaboration with Zerb on “Mwaki” wasn’t just another dance track—it became a cultural moment that proved authentic voices singing in native languages could dominate global charts. In this exclusive interview, Sofiya Nzau Mwaki’s creator opens up about her unexpected journey from village church choirs to international stardom, and how one reluctant decision changed everything.
From Village Churches to Viral Stardom
Growing up in Kenya, Sofiya never imagined music would become her profession. She sang in church choirs, Sunday school groups, and school performances, but it was simply something she loved doing.
“I’ve been singing in school, in church. I was raised in church and I was always in Sunday school, junior Sunday school, the youths, and I’ve always been part of a singing group,” Sofiya explains. “But I never thought it would be like something professional. It’s just, I have a good voice and I can sing and I just want to sing.”
After finishing high school, she moved from her village to the city, where her husband invited her to join their church worship team. He was also a producer working with a band, and he saw something in Sofiya that she didn’t see in herself—the power of her native language.

The Ultimatum That Changed Everything
The turning point in Sofiya Nzau’s Mwaki journey came with what felt like a limitation. Her husband, who served as her producer, gave her an ultimatum: sing in Kikuyu, your native language, or don’t record at all.
“I was really angry, honestly, because I didn’t want to sing in my language,” Sofiya admits candidly. “I thought you can only make it if you sing in English or something else. So I felt like he was limiting me, but he knew what he was doing.”
The resistance was rooted in years of conditioning. Like many African artists, Sofiya had internalized the belief that international success required singing in English. Her native Kikuyu felt like something to move past, not lean into.
But when her husband gave her a chorus to sing in Kikuyu, something clicked. “It was so good. And I was like, okay, this makes sense because it’s not the traditional Kikuyu songs that I know. So this sounds different.”
Creating Hundreds of Vocals—Then Lightning Struck
Her husband introduced her to Fiverr and other platforms where she could create vocal samples for DJs and producers. They began uploading samples in Kikuyu, sending them to producers worldwide. It was a numbers game—create enough content, and something would eventually break through.
“I remember telling him, these are a lot of vocals. One of them is going to be a hit,” Sofiya recalls. “And we waited and we waited and we waited.”
Multiple producers used the Mwaki sample, but nothing caught fire. Then Dutch DJ Zerb picked it up, and everything changed.
“There are so many Mwaki songs and then Zerb comes with a sample and the song and boom, it’s international. It’s a big one and it’s opening more doors. And that was it.”

The Sofiya Nzau Mwaki Phenomenon Nobody Expected
What makes the Sofiya Nzau Mwaki story even more remarkable is that she almost wasn’t officially part of the track. When Zerb’s version went viral on TikTok, fans demanded to know who was behind those captivating Kikuyu vocals.
“For me it was just another song because the Mwaki sample was used so many times and I was like I hope it’s not Mwaki,” she laughs. “I actually had it put on my notes so that when someone asks for translation, I can just copy paste because they were asking for it so many times.”
But this time was different. The song exploded across TikTok, and comment sections filled with one question: “Who is the singer?”
“TikTokers are asking, okay, who is the singer? Because it’s not you. Every time he posts that post, who is the singer? Tag the singer,” Sofiya remembers. “I wasn’t supposed to be part of the song and I became part of the song because the world demanded for it.”
TikTok: The Great Equalizer
The role of TikTok in the Sofiya Nzau Mwaki success story cannot be overstated. The platform allowed the track to reach millions organically, with users across countless niches using it as a soundtrack for their content.
“I think in this age, especially these past years and right now, I think you need TikTok,” Sofiya explains. “People are doing a lot of videos and as they are doing videos, they need a background song and you want your song to be that background song.”
The beauty of TikTok’s algorithm meant that people selling products, creating dance videos, or sharing life moments could all use the same track, exponentially increasing its exposure. “Your song is just, you’re being marketed for free,” she adds.
One particularly memorable moment came when a popular EDM reaction YouTuber featured the Sofiya Nzau Mwaki track. She and her husband had been longtime fans of his content.
“We’ve been watching that guy react to songs with my husband and we’re like, yeah, that drop is crazy. That drop is crazy. We never thought it will be the song he’s reacting to,” she says with wonder. “That was a dream that we didn’t even have coming true.”

Kenyans Fighting for Recognition
When the reactor expressed surprise that the vocals weren’t in English, Kenyans flooded the comments with pride. “Kenyans are there saying, hey, excuse me, this is Kenyan, that is Kenyan. It’s called Kikuyu,” Sofiya recalls warmly. “Honestly, Kenyans fought for this song. They fought for recognition. And it was amazing to see them owning the win even for them, because it was not just for me, it was for the whole country and the whole continent.”
Breaking Down Barriers for African Artists
The impact of Sofiya Nzau Mwaki extends far beyond one viral song. By achieving global success while singing in Kikuyu—one of 56 languages spoken in Kenya—she’s helped shift perceptions about what African artists need to do to succeed internationally.
“It was like this thing you need to get over. You need to get over your accent. You need to get over shrubbing and all those things,” Sofiya explains. “But right now, we can just speak as yourself. You can be yourself. You can be authentic and you can sing like that.”
The change is already visible. “Nigerians have been doing it, which is amazing. And Kenyans are also starting to embrace it,” she notes. “People are starting to acknowledge their roots. And it’s cool for me to sing in my language because it wasn’t cool.”
The comparison to “Despacito” isn’t lost on her. “I don’t even know what Despacito is, but I love that song and it’s an all time hit,” she says. “You don’t actually have to” sing in English to achieve global success.
What Does “Mwaki” Actually Mean?
Interestingly, the Sofiya Nzau Mwaki lyrics tell a story about forbidden love—but most listeners, even in Kenya, don’t understand the words.
“So many people even in my country don’t understand the language. So they actually don’t know what I’m singing about,” Sofiya reveals. “I think what resonated more with people was the difference and that, wait, this is different. And it’s actually going big.”
It was the shock factor—proof that artists don’t need to conform to Western language standards to achieve international recognition. The sound, emotion, and authenticity transcended linguistic barriers.

The Creative Process Behind the Magic
Working primarily with her husband as producer, Sofiya’s creative process varies based on each project’s origin. Sometimes producers send instrumentals requesting vocals; other times, they build songs from scratch using just piano keys.
“There’s just a way where producers and vocalists just match each other’s energy and whatever everyone was looking for in a song,” she explains. “I don’t have like a specific, I work with how the song started.”
The timing of her breakthrough was also fortuitous. “Mwaki came in a season where outside artists or international artists were very hungry or were looking for something new from Africa,” she notes. “That gave me a very good opportunity to collaborate with other big artists who are in the dance music.”
Life in Kenya’s Music-Filled Streets
For those unfamiliar with Kenyan culture, Sofiya paints a vivid picture of a country where music is omnipresent. From matatus (local buses) to tuk-tuks, barbershops to street vendors, sound fills every corner.
“We have this thing in Kenya where everything has music. If it’s a shop, it’s a salon, it’s a barber shop, it’s a bus, it’s a matatu, it’s a tuk tuk. There’s so much noise outside, but most of it we listen to our local music,” she describes enthusiastically. “I tell people Kenya is so loud.”
The dance music scene is growing, but local Kenyan music dominates the soundscape, creating a unique cultural ecosystem where traditional and contemporary sounds coexist.
Looking Toward 2026: New Music and Independence
As 2025 closes, Sofiya reflects on two years of intense learning. Building her career alongside her husband meant navigating challenges together, making mistakes, and growing stronger.
“We’ve been learning and making mistakes and getting into holes and needing to come out of them,” she shares. “But at the same time, I’m so grateful for all the things that we’ve gone through because if we didn’t go through those things, we wouldn’t have learned the things that we’ve had to learn.”
Her primary focus for 2026? Releasing original music under her own name and stepping fully into her identity as a solo artist.
“I’m hoping to release a lot of my music. And I’ll start my journey as an artist without having to rely on someone else or another artist,” she reveals. “I am waiting also for some performances all around the world and just a big something. Just growth, just another step.”
After enjoying Kenya’s cherished holiday season with family and a New Year’s Eve performance in Zimbabwe, Sofiya will return with new music she’s been developing throughout the year. “We have amazing music in store. I’ve done a lot of songs and I can’t wait for my fans to hear them next year.”
The Legacy of Authenticity
The Sofiya Nzau Mwaki story represents something bigger than one artist’s success. It’s proof that the next generation of global music stars will sound more diverse, more authentic, and more representative of our world’s rich cultural tapestry.
Her reluctance to sing in Kikuyu transformed into her greatest strength. Her husband’s ultimatum, which felt limiting at the time, became the key that unlocked international doors. And her voice—singing words many listeners don’t understand but deeply feel—now bridges continents through the universal language of music.
“We don’t have to try to be people that we are not. And that’s the beauty of it,” Sofiya emphasizes.
As dance music continues evolving and seeking fresh perspectives, Sofiya Nzau stands as living proof that authenticity resonates louder than conformity ever could.
Spotify – https://open.spotify.com/episode/7zw6V9vRmoIsmqjqPv9Jhl?si=6f57384b28e04631
Connect with Sofiya Nzau
Find Sofiya Nzau’s music on all major streaming platforms. Follow her journey on Instagram and TikTok @SofiyaNzau to stay updated on new releases and performances.
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Interview
Danny Eviza Talks New Single ‘Good, Bad, Ok’
Danny Eviza’s latest release “Good, Bad, Ok” arrived almost by accident, built entirely around a chance discovery of Sam Welch’s voice.
Danny Eviza‘s latest release “Good, Bad, Ok” arrived almost by accident. What began as a chance discovery of Sam Welch’s voice turned into a full collaboration, with Eviza building the entire instrumental around Welch’s melodic demo rather than the other way round. The result is a deep, UK Garage-tinged production that leans further into the more melodic, emotionally driven sound he’s been developing across his recent work, out now via More Than A Feeling and Lilyera. We caught up with Danny Eviza to talk through the making of the track, his first-time collaboration with Sam Welch, and where his sound is headed next.
“Good, Bad, Ok” is a very sentimental track. Was there a specific moment or emotion that inspired the production behind the song?
The track actually started in a very spontaneous way. There wasn’t a specific moment or story behind the production at first. I was looking for a particular emotional atmosphere, and the whole idea developed naturally from Sam’s vocal. Once I heard his voice, I immediately felt there was something special there, and I wanted to build a production around that emotion.
Is this the first time you’ve worked with Sam Welch?
Yes, it is. The collaboration actually happened almost by chance. I came across some of Sam’s music and immediately really liked his voice. I decided to contact him, and he sent me a melodic demo. I connected with it straight away and started building the entire instrumental around his vocal. That’s how “Good, Bad, Ok” was born.
How do you feel Sam’s vocals complete the production?
Sam’s voice was actually the starting point of the production, so in a way the instrumental was built around him rather than the other way around. His vocal already had a strong emotional character, and my goal was to create a production that supported it without taking away from that feeling. I think that’s what gives the track its atmosphere.
The track has been released on More Than A Feeling / Lilyera. What makes the label the right home for “Good, Bad, Ok”?
I’m really happy to be releasing “Good, Bad, Ok” with More Than A Feeling and Lilyera. I feel that the track fits very naturally with the sound and direction of the label. It’s always important to me that a song finds the right home, and I think this release is a great match.
Talk us through the creative process behind “Good, Bad, Ok”. Did the track evolve significantly from the initial idea to the final version?
The creative process was quite different from how I usually work. Instead of starting with an instrumental idea, I started with Sam’s melodic demo. I listened to it and immediately heard the potential, so I began building the instrumental around his melody and vocal. From there, the track evolved through the production, arrangement and sound design until we reached the final version. The original vocal idea was always the heart of the track.
Throughout your career, you’ve explored a variety of dance music subgenres. However, your three most recent releases share a similar deep house sound to “Good, Bad, Ok”. How does this track fit into where you want to take your sound next?
With this track, I moved a little closer to a UK Garage-inspired deep sound, mainly because I felt it suited Sam’s vocal better and helped me create the right groove around it. However, I still see myself staying within a chill and deep house style. In the future, I could also see myself releasing tracks with a darker sound, perhaps moving more towards Tech House. But for now, Deep House remains the style that inspires me the most and feels the most natural to me.
Do you see this more melodic sound as a potential part of your sonic identity going forward, or do you still want to keep experimenting with different styles?
I definitely want to keep experimenting. I don’t think having a recognizable sound means limiting yourself to one genre. For me, it’s more about developing an emotional identity while still being able to explore different sounds, tempos and styles. The melodic side is definitely something I want to continue developing, while keeping that chill and deep feeling that represents me.
Is there a specific message that you’d like listeners to take away from “Good, Bad, Ok”?
I think the main message is that it’s okay to simply be okay. We don’t always have to be extremely happy or completely sad. Sometimes we’re somewhere in the middle, and that’s perfectly normal. I hope listeners can connect with that feeling and find their own meaning in the song.
Is there a particular element of the production that you’re especially proud of?
I’m particularly proud of the way the instrumental was built around Sam’s vocal. Because the vocal was the starting point, I wanted every element of the production to support it and enhance its emotion. I think the balance between the melody, groove and vocal is one of the strongest aspects of the track.
Looking ahead, what can fans expect from Danny Eviza following “Good, Bad, Ok”?
There is definitely more music coming. I’m continuing to work on new productions and collaborations, and I’m exploring this deeper and more melodic side of my sound even further. At the same time, I don’t want to limit myself, so in the future there could also be some darker and more Tech House-oriented releases. For now, though, Deep House remains my strongest source of inspiration.
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Interview
Ørjan Nilsen Talks New DJ MEETCH Collab ‘Body On Me’
Ahead of his new single with DJ MEETCH, ‘Body On Me’, Ørjan Nilsen sits down with EDM House Network to talk collaboration and staying fresh.
Hi Ørjan, welcome to EDM House Network! Where are you in the world right now and what are you doing?
Ø: Hi guys and thank you! Right now I’m at home, just came back from Street Parade in Zürich and getting ready for Park Beats Festival in Poland this coming weekend.
Congrats on the new single with MEETCH, Body On Me. What was it like working together on the track?
Ø: Thank you! Oh it was so much fun, it’s always good stepping out of your comfort zone and working with new talented people, and Meetch is such a nice guy it just flowed.
You’ve said that MEETCH “reminds you why you fell in love with music in the first place.” How did he do that, and why had you forgotten?
Ø: Just the joy he has for it and the pure happiness it creates starting up. I’ve been doing this for 20+ years and even tho I haven’t forgotten, travelling for so long and working so much sometimes mean that you kinda forget how lucky you are in the end, being able to do this. The love for music and playing it tho? Will never be forgotten or go away.
You’ve had a long career, and you don’t seem like you’re going to stop any time soon. How do you stay fresh and relevant?
Ø: Not a chance!! I love this too much. Learning new techniques and dabbling with other genres creates a lot of inspiration and creativity. I think if you stop and refuse to embrace other genres or even changes in your own you’re doomed to stagnate. So far, I just love the journey of finding out new things.
It looks like you have a lot of fun making videos for your socials – are you as friendly and crazy in real life?? Is there an Ørjan Nilsen the performer, and a private Ørjan Nilsen, or is what we see what we get?
Ø: sometimes when I look at the videoes I reeeaally really wish it was a made up persona (cause God that guy can be a bit embarrassing haha) but unfortunately, I can’t even blame that… So I guess what you see, is what you get.
How was it remixing Darude’s Feel The Beat? Is it true that he performed at your school when you were a kid?
Ø: It was like a full circle kind of moment, and that track was actually my favorite of his. Yes not Sandstorm! Haha he did perform at an elementary school up here in Kirkenes, not mine tho! Was already out of elementary school at that time. Was so surreal!
Do you think trance music will ever be as dominant as it was back in the 2000s? Would you like to see it come back or do you think there are new genres of music that are more interesting these days?
Ø: I think the borders between genres are getting more and more blurred, for better or for worse. And yes, the share melodic aspect of trance means it’ll never lose potency within music, there will always be trance. Whether it’s gonna be as big as that era I have no idea, but I do think it’ll still be a major part of festivals and the clubscene for maaany years to come, in some shape or form.
We heard there’s more new music coming up from you and MEETCH, can you tell us more about that?
Ø: That is true!!! Can’t disclose too much yet, except it’ll be released on my label «In My Opinion» and cannot WAIT for it to be released!!
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Interview
Björn Grimm Talks Nibirii Festival’s 6th Edition & More
Ahead of Nibirii Festival’s sixth edition, co-founder Björn Grimm discusses the festival’s origins, its growth, and this year’s lineup.
Recently we got to chat with Björn Grimm, co-founder of Nibirii Festival, in the lead up to the festival’s 6th edition. We discussed the story behind Nibirii, how it’s grown, and what everyone can expect from it this year.
First off take us back to the beginning. Where did the idea for Nibirii Festival come from and how did it all come together?
I was listening to a Vini Vici track by coincidence at the time and it had me thinking of a concept for bringing sounds together at Bootshaus Cologne, which were underrepresented at that time. It became a successful event series pretty quickly and someone offered us a nice place (Dürener Badesee) so we thought about bringing this to the next level – and so we did!
Since that first edition Nibirii has come a long way. How has it been for you to watch it grow from a single day event to a multistage, full weekend festival?
To be honest, it is really hard for me to see it growing because it was huge for me right from the beginning and I am not the person counting and comparing numbers. I think you can compare it with being a parent and you see your child growing and so time is passing and someday you say “wow when did you become a grown adult.” I think it is similar because I was raising this event and was so close to it.
– This year you’ve pulled together an incredible lineup with the likes of Dimension, Hannah Laing, I Hate Models, and Vini Vici to just name a few. What’s the process like in pulling together such a lineup and deciding who you want on those stages?
I think booking is a really difficult task nowadays. Music is changing fast, artists are getting a lot of attention within a few days. Trying to look into the future is nearly impossible. I think the good thing is that we have a great relationship to the artists and we know what we want, and our booker is maybe one of the best in Germany. Shoutout to Paul.
– Nibirii has grown rapidly year on year. What can festivalgoers expect this year that’s maybe developed since 2025?
If we look back at last year, the Unreal stage might have been the biggest thing, and it will be for the Techno genre in 2026. But the other stages have also had a new facelift.
– Planning a festival is a huge challenge to take on. You’ve already had 5 very successful editions, but what are the emotions like for you in the buildup? Do you get nervous or is it all just excitement?
I think this is part of the deal. You will not do this with your heart if you are not getting nervous and excited, sad and happy, frustrated and the full emotional rollercoaster ride.
– How important is it to you to have each stage feel unique in both style and sound?
Stages should be great, 100%. The experience is not only created by the artists playing. It is the surrounding, the friends and people around you, the sound… everything is important. You can have the best stage in front of you but if you can’t share this with someone this stage is worthless.
– What would you say makes Nibirii different to other festivals and has kept on bringing more and more people back?
It is the vibe, the location, the local hosts we bring to the festival.
– What is your favourite thing about Nibirii?
It is the people I am seeing there. Seeing them smiling makes me happy and reminds me why I’m doing this.
– If you had to describe Nibirii in 3 words to someone who hasn’t been before what words you choose?
MUSIC, BEACH, FRIENDS
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