Lil Maina, Kanzu, and the Beats Behind ‘Kishash’

In the latest episode of “Things We Never Talk About in Studio But Should,” we find ourselves with Lil Maina and Kanzu, the producer behind the mega-hit Kishash—a song that has probably been played at more sherehes than you’ve attended in your entire life. With over 8 million views on YouTube and TikTok challenges, you’d think everyone involved in creating Kishash would be popping bottles of champagne, no? Well, not so fast. . .

Kanzu, the man responsible for that infectious beat, says he’s still waiting for his fair share of the brownies (because kishash – get it? No?). And by fair share, we don’t mean the “thank you for your hard work” text that artists send when a song blows up. Nope, we’re talking royalties—this magical payment that producers, songwriters, and artists dream about while jamming in the studio.

In what can only be described as a royalty rumble, Kanzu claims that he’s seen zero royalties from Kishash, despite its success. And now, he’s out here encouraging fellow producers to double-check their paperwork because, in his words, securing fair compensation is not just a suggestion, it’s a survival skill.

Wait, Who Didn’t Talk About Royalties?

Lil Maina, on the other hand, is questioning Kanzu’s sudden financial epiphany. According to the artist, during the making of Kishash, the two were just a couple of “upcoming” guys trying to make magic in the studio. No talks of splitting royalties, no contracts, no spreadsheets breaking down percentages—just vibes. Further, Lil Maina says he paid Kanzu for his work, end of story.

Why then not clear things up back when they were hustling together, trying to make it in the music game? It’s a valid question, and one that cuts to the heart of so many disputes in the entertainment industry – Miscommunication – the real villain.

At the end of the day, the real kishash we should all be smoking is transparency.

Lessons from the Kishash Chronicles

So, what’s the takeaway here?

It’s a classic case of “If you didn’t write it down, did it even happen?”

Talk about the tough stuff—money, splits, royalties—before you even hit that record button. It might feel awkward, but it’ll save you so much emotional bandwidth in the future.

And sure, when you’re an up-and-coming artist, the idea of discussing contracts and royalty splits can feel about as exciting as watching the news these days. But here’s the thing: hits happen—and when they do, suddenly that paperwork becomes the difference between “thanks for the memories my G” and “I just bought that moti I been telling you about.”

Kanzu’s situation is a wake-up call for every producer, songwriter, and beatmaker out there: Don’t get caught in the excitement of creating a banger and forget to secure your financial future. It doesn’t matter if you’re working with an artist who has 10 followers or 10 million—get your agreements in writing.

So, What Exactly Are Royalties?

In case you’re wondering, royalties are recurring, glorious streams of income that come from the ongoing use/play of your song. For a producer like Kanzu, royalties mean getting paid every time Kishash gets streamed, downloaded, or used to fuel a TikTok dance challenge. Without proper paperwork, though, it’s easy for someone to get left out of these revenues.

Moral of the Story – Get Your Paper Right

For all you future Lil Mainas and Kanzus out there, remember this: the studio may be where the magic happens, but the splits (i.e. Split Agreement) is where the security lives. Producers, don’t just vibe in the background and hope that karma or goodwill will make sure you get paid. And artists, don’t assume that a one-time payment means the end of the discussion. It’s all about clarity from day one.

In a nutshell – TALK ABOUT THE SPLITSSS! To learn more about what splits are, watch this video here – https://www.youtube.com/watch?v=X9oF6y6tdy8

As for Kanzu and Lil Maina, we hope that they can hash it out so that they can give us more bangaz. Until then, we’ll keep streaming Kishash and dancing like nobody’s watching—just maybe not for free.

What do you think—who’s in the right here? Drop your thoughts, and while you’re at it, maybe double-check those split/royalty agreements too. You know, just in case you drop a hit next week.

Immaculate Juma

Immaculate Juma is an Advocate (of the High Court of Kenya) and a creative whose inclination towards the arts has largely influenced her practice in areas of law including Intellectual Property Rights and Management, Music and Entertainment Law, Art Law, Privacy and Image Rights, Software licensing and Employment Law. She completed her Bachelor of Laws (LL.B) from The University of Nairobi and has previously worked at Mohammed Muigai Advocates, J. Louis Onguto Advocates and the Karen Village Arts Cultural and Heritage Centre. Additionally, she holds a Certificate in Copyright Law from Harvard Law School from the CopyrightX Program; a distance-learning initiative of Harvard Law School and the Berkman Klein Center for Internet and Society.

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