The music world is exciting, but it can also be tough to navigate, especially for women. From hidden barriers to outright gatekeeping, the path isn\u2019t always straightforward.<\/p>\n\n\n\n
Victoria Kimani<\/a> has lived through every aspect of this journey<\/p>\n\n\n\n An award-winning Afrobeats artist, singer, songwriter, and performer, she\u2019s spent over 20 years honing her craft, breaking into new markets, and holding her own on some of the biggest stages in Africa and beyond.<\/p>\n\n\n\n From writing for international stars in the U.S. to reimagining her sound for African audiences, Victoria has learned what it takes to build a name and keep it. She has seen the wins, fought through the challenges, and collected lessons she now wants to pass on to the next generation of female artists through her course, Strategy to Stage<\/em><\/a>.<\/em><\/p>\n\n\n\n We sat down for a candid conversation about her career journey \u2014 the early roadblocks, the defining moments, and what it really takes to build longevity as a woman in the music industry.<\/p>\n\n\n\n Watch it here<\/a> or read about it below!<\/p>\n\n\n\n Victoria: <\/strong>Over 20 years. My African journey began in 2013, but before that, I was in the United States working as a songwriter. I wrote for other artists and had to figure out how to navigate the industry as an African woman outside of Africa, and that\u2019s a whole different ball game.<\/p>\n\n\n\n Victoria:<\/strong> Plagiarism. When someone takes your idea, your song lyrics, or a concept you created, and you don\u2019t get credit for it. It\u2019s happened to me more than once, especially in the early years of my career. It\u2019s frustrating because your intellectual property is your currency as an artist. <\/p>\n\n\n\n Seeing it borrowed or outright stolen without acknowledgement is still something I can\u2019t fully get used to.<\/p>\n\n\n\n Victoria:<\/strong> I was completely alone with my ideas and my thoughts. I knew how I wanted to look, how I wanted to sound. I had songs ready, but I didn\u2019t know how to get them heard.<\/p>\n\n\n\n One of the first things I had to learn was how to network<\/strong>. I\u2019ve never liked asking for help; I hate it, honestly. But sometimes, just sharing your work with friends is the first step.<\/p>\n\n\n\n For example, if you have a friend who\u2019s a DJ, ask them to listen to your track and give feedback. It\u2019s vulnerable because your music is personal, and you have to be ready for whatever they say. But those conversations can open doors.<\/p>\n\n\n\n For me, one of the most important early moves was finding an African DJ I could trust <\/strong>\u2014 someone who understood what was popular and could help plug my music into the right spaces. That guidance was priceless.<\/p>\n\n\n\n I started with gospel music because of my church background. I learned how to sing by singing along to Yolanda Adams, CeCe Winans, and legendary gospel singers. I\u2019d practice what they were doing and try to sound like them, or even better.<\/p>\n\n\n\n Eventually, my dad noticed and said, \u201cI can see you can sing, so let me get you a keyboard.<\/em>\u201d That\u2019s how I started playing the keyboard and recording myself on a tape recorder. I was about eight years old. <\/p>\n\n\n\n When I started taking music seriously, it was as a songwriter. I wanted to write the kind of songs I loved \u2014 R&B and neo-soul \u2014 but I kept getting the feedback, \u201cSis, we\u2019re trying to get your songs placed on a Britney Spears album. You need to know how to write pop music.\u201d<\/em><\/p>\n\n\n\n That\u2019s when I learned pop is simple on purpose. R&B and neo-soul are complex \u2014 deep lyrics, intricate melodies, riffs that go up and down. Pop is direct; it cuts through instantly. My first understanding of my sound came from blending R&B\u2019s richness with pop\u2019s simplicity.<\/p>\n\n\n\n Then in 2013, I moved back to the continent and had to start all over again. I wasn\u2019t singing to Americans anymore. Most people didn\u2019t care about my English; they wanted melodies and rhythms they could dance to. I even studied the psychology behind it, how we, as Africans, are kind of escapists. We don\u2019t want to dwell on problems; we want to dance them away.<\/p>\n\n\n\n So redefining my sound was adapting it to the people in front of me. It\u2019s been evolving ever since.<\/p>\n\n\n\n First, you need to know that your presence as a woman will be welcomed by some and rejected by others. There are still people with very primitive ideas who believe a woman\u2019s place is to stay quiet. You have to be ready for those unspoken biases, because they will come up.<\/p>\n\n\n\n You also need to understand patriarchy, how it shapes the African music industry, and the ways you can still cut through despite it. Unfortunately, that same system means you might be sexualized. You might approach a producer or manager for help, and they see you as bait instead of talent.<\/p>\n\n\n\n One of the earliest lessons I learned was: never go to the studio alone. Always have someone with you. And how I dress on stage is not how I dress in the studio. Tems once mentioned wearing baggy clothes to the studio to avoid distractions \u2014 that reminded me of my strategy. It\u2019s sad that in 2025 this is still necessary, but safety comes first.<\/p>\n\n\n\n Another big one is learning how to have allies and how to give. Nobody owes you anything. If someone supports you, show up for them in return. Attend other people\u2019s events. If you\u2019re being interviewed, show up early, maybe even bring a gift. Especially in the early days, most people are doing you a favour unless you\u2019re already famous or funding everything yourself. Reciprocity goes a long way in building genuine relationships.<\/p>\n\n\n\n One of my earliest wake-up calls came when I was just 19, living in Los Angeles. A friend of my uncle\u2019s said he knew a big producer and offered to take me to the studio. I went, and that day, Bone Thugs-N-Harmony\u2019s Layzie Bone happened to be there working on his solo album. They asked me to record a chorus for him, and I did. I was over the moon.<\/p>\n\n\n\n The producer told me to come back the next day. I agreed, thinking this was a breakthrough moment. But then he said, \u201cYeah, when you get here, be ready to give me a massage.\u201d<\/em><\/p>\n\n\n\n I kept my cool and told him, \u201cI\u2019m not a massage therapist, but I can help you arrange one.\u201d<\/em> I wasn\u2019t going to explode in that moment; I still had to protect my dignity and my career prospects. But that\u2019s when I learned: not every bridge is meant to be crossed. Some bridges you burn without regret.<\/p>\n\n\n\n When I declined, he tried to pressure me: \u201cI\u2019m going to put you in front of Snoop Dogg and all these people. Why should you get an easy ride? This is what it takes.\u201d<\/em><\/p>\n\n\n\n That was my cue to walk away. I hung up, never went back, and never spoke to him again.<\/p>\n\n\n\n Some opportunities aren\u2019t worth the cost. People will try to take advantage when they see you\u2019re hungry for success. But the gift you have, the one God gave you, will make room for you without compromising who you are. Every closed door isn\u2019t a dead end; sometimes it\u2019s just divine protection.<\/p>\n\n\n\n The \u201caha\u201d moment came from my DMs. I\u2019d get constant messages from young women asking, \u201cHow do you navigate this industry? How do you make certain moves look so effortless? How did you connect with that brand? Can you be my big sister and guide me?\u201d<\/em><\/p>\n\n\n\n I\u2019d share bits of advice here and there, but it was never deep or structured. Around that time, I\u2019d already released five albums and was in between projects, so I asked myself: What can I create that\u2019s useful, impactful, and truly helpful?<\/em><\/p>\n\n\n\n That\u2019s when I decided to package my knowledge. In the digital space, people always say what\u2019s in your head has value, and I wanted to turn that value into something tangible. Strategy to Stage<\/em><\/a> became my way of being of service while giving women the practical tools I wish I\u2019d had when I was starting out.<\/p>\n\n\n\nQ: How long have you been in the music industry?<\/strong><\/h2>\n\n\n\n
Q: You\u2019ve been in the entertainment industry for over 20 years now. What\u2019s one thing that still surprises you to this day?<\/strong><\/h2>\n\n\n\n
Q: Let\u2019s talk about when your career first started. A lot of creatives have the vision, the drive, and even the talent, but they don\u2019t know where to begin. How was it for you in those early days?<\/strong><\/h2>\n\n\n\n
Q: How did you find your sound? Has it always been Afrobeats?<\/strong><\/h2>\n\n\n\n
Q: A lot of women step into the music industry without really knowing what they\u2019re getting into. What are some specific things female creatives should look out for before taking that leap?<\/strong><\/h2>\n\n\n\n
Q: You\u2019ve worked in a male-dominated space for a long time. What\u2019s one experience that really tested your resolve as a woman in the industry, and how did you overcome it?<\/strong><\/h2>\n\n\n\n
Q: Let\u2019s talk about your course, <\/strong>Strategy to Stage<\/em><\/strong>. It\u2019s a power-packed bundle for female artists. What inspired you to create it? Was there an \u201caha\u201d moment?<\/strong><\/h2>\n\n\n\n