“People know Malkizy, but only certain people know Malcolm”

Upcoming rapper Malkizy (aka Malcolm Axel Willmann) opens up about breaking into the music scene, staying true to himself and upcoming projects.

It’s a chilly evening in Nairobi, and I clutch onto the nduthi man as we speed down the highway, the wind beats in my face as I attempt to open my teary eyes to view the surroundings.

We near our destination and I can see the trademark ‘Muthaiga Heights’ carved into a grey wall that surrounds a large apartment complex – the area is silent with only the faint sound of cars in the distance, and the odd motorbike rushing through.

I feel for my notebook in my bag as I ring the doorbell of Malkizy’s house who opens the door swiftly with a huge smile on his face.

Dressed in a comfy black T-shirt and sweats, he reaches out for a hug and welcomes me into his abode – “make yourself at home”. I set up on the living room table and make idle conversation as he offers me a drink.

Malcolm Axel Willam is a 20 year old rapper, whose music career began in high school, with him debuting in a rap group “IMK” (Ian, Malcolm, Kyle) a trio of rappers who released their first track ‘Tokyo’ in 2017 that earned them notable commendation from their peers and made them pretty famous within their high school community. However, this fame was short-lived as the strain of examinations proved too big an obstacle to overcome – thus leading to the dissolution of the group. Nevertheless, this did not hinder Malcolm from venturing out on his own and proving that he could make something out of the music career he had started; which he admits proved quite the challenge.

Born in Berlin, Germany and predominantly raised in Nairobi, Kenya – Malcolm states that both cultures have influenced his take on music. Whereas, the German music scene is not one he is very fond of, as he describes it as being largely superficial and lacking originality; he felt at home within the Kenyan music scene where he began listening to Kenyan artists such as Swahili Papi (aka Baraka), Nyashinski, Jerome, TNT (Timmy and Twenny), Steph, Blinky, Kaligraph, Octopizzo etc. and Afro artists including Maleek Berry and Wizkid whose sound he identified more with. With Drake being his biggest influence, Malcolm states that he would like to adapt this genre (hip-hop & rap) and fuse it with the Afro music he really enjoys as he continues to explore with his sound.

We settle down to discuss the stigma surrounding music, particularly within African regions where its pursuit is discouraged and Malcolm reveals how crucial parental support has been in the advancement of his career, something that would not have been possible without the endless encouragement of his mother. As music had always been a part of his life, with his dad being a guitar player and his aunt being an avid singer – she was convinced that he possessed a musical gene somewhere in him that was just waiting to be unlocked and pushed him to continue pursuing it, something he is grateful for.

I remember hearing my first ever track of his: ‘Juice’ featuring Jerome (aka Jerry Kirui) – a catchy song that captured a lot of attention throughout Nairobi. Their attention to detail is greatly reflected in the production (something Malcolm reveals is a crucial factor in the song writing process and usually forecasts the song’s success) and their musical flair made evident through their lyrical panache, that reflected their youthful and fresh take on music.

However, Malcolm reveals that he wasn’t always on good terms with Jerome; he depicts their relationship as one that was initially full of underlying conflict and claims that Jerome was in fact his “number one enemy”. This was largely influenced by his hesitancy to collaborate with him, which was discouraging at first, but only gave Malcolm more incentive to work even harder which was rewarding as he was able to secure a collab with Jerome on one of their most popular tracks: ‘Moving Round’ – a song that marked the beginning of a solid friendship and set the foundation for multiple future collaborations. Songs such as ‘Right Now’ and 'Juice' have proved that these two artists are truly a match made in musical heaven as both their sounds complement each other so well and Malcolm even goes further to reveal that they have an upcoming joint project, which he discloses as his personal favourite, of all the projects he’s done. 

I ask Malcolm to take me through his lyrical journey – what fuels his writing and why he writes the way he does? "I feel like I have a problem... if it's a sad beat and I really need to talk about something emotional, I'll sit down at like 3 in the morning, with some studio lighting and the Drake in me just comes out. I'll picture a heartbreak, imagine a girl who's done me dirty and her friends who knew about it but never told me... I'll imagine a whole storyline", he candidly shares conveying he uses emotion rather than actuality as a vice to drive his music. He says one thing that stuck with him is the idea, perpetuated by Lil Wayne, that "everyone can be an artist, because everyone has a lot on their mind, it's just the process of getting what's on your mind on paper that most people can't do".

Malcolm's journey in the music industry has been one full of growth and self discovery – something he says is evident in his approach to his music now, which has significantly changed in comparison to the beginning of his career. Whilst debuting, his sole concern was the consumption and marketability of his music, whereas now, he creates and releases various projects because he enjoys them.  He also reflects on the time where it would take him an average of two hours to come up with a catchy hook, something that now takes him twenty to thirty minutes, highlighting the musical maturity he has showcased over the years. Nonetheless, he still faces the similar challenges that he did at the beginning of his career, the biggest of which is promoting his music, claiming that one of the hardest things to achieve is for someone to recognize you and say that they've "heard your tracks". Referencing South African star Nasty C, Malcolm states that "when Nasty drops a song, the whole of Africa is listening"  proving the importance of having a legitimate support system and a strong PR team, but also underlining the lack of support for local artists within the region. "I was at the club yesterday and they only played one local song... if you go to the States, they're playing their music, if you go to Nigeria, they're playing West African music... we're the only ones fishing out", he shares dejectedly – because the infrequent support and often times disregard for the local talent and artistry is common within Kenya and not only hinders the progression of ones career internationally, but also locally.

Fame is something that has been described as a 'double-edged sword' as it comes with both favourable and unfavorable consequences - both of which Malcolm has experienced. He claims that while he does appreciate the fans and loves spending time with them, there are times when he's "just tryna chill and not think about music" - something that has become increasingly difficult to do, as no matter where he goes "there will always be that one person that talks about going to the studio". This is something he claims has affected his social life so much: "people take these things for granted, just going out and being able to sit with my friends and not have people blab into my ear". On the other hand, Malcolm recalls a time when he was "praying for this... if I go to a club and someone knows me, I'm gonna be so happy" showing that fame isn't all that it is made to be and there is a lot more to be considered when it comes to it.

One other downfall of the rise to stardom is the inevitable rise of fake friends. Malcolm recollects people who have hung around him for "clout" or because they craved the hype that surrounded him. "People know Malkizy, but only certain people know Malcolm" he shares as he describes that loyalty (something that is of great importance to him) is usually easier to ask of five genuine friends, rather than four hundred forged ones. In his free time Malcolm enjoys being in the company of his close friends and states that he "hates being alone".

Looking into the future, Malcolm opens up about his short term and long term goals - the foremost including the release of his upcoming project that himself and Jerome have been working hard on, currently consisting of four heavy tracks, two of which he says lean towards the 'Afro genre' side as he is "messing around with some styles". He laughs as he recalls the complicated process of working with Jerome (who is based in Kenya) from all the way in his home studio in Berlin "the way Jerome and I work is crazy because I'll find a beat and I'll send it to him then I'll put a hook on the beat and send him voice notes... I'm playing the beat on the speakers and recording my verse to it and he does the same with his verse and I put it together and we have a banger... and we just go to the studio and record." I laugh in admiration "Do you know the pressure of trying to sound good on an audio recording" he asks, something that I’m sure a lot of us can relate to – even when the matter is nowhere near as urgent.

Some of Malcolm's long-term goals include putting Kenyan music on the map and making Africa a powerhouse. He says that whilst he is an independent artist and isn't looking to sign a deal soon, he hopes to run a record label in the future that focuses on empowering African artists, whilst simultaneously allowing them full creative control thus allowing them to get the best opportunity through which they will gain all the recognition and financial compensation that they deserve. "Africa's The Future (AITF)" is a label already started by himself and a couple of friends that transcends music and is inclusive of other creative areas that Kenyan and African youth may want to explore.

Malkizy has proven that he is one to look out for as he continues to revolutionize the meaning of Kenyan hip-hop and rap through his sound which he describes as “wavy, catchy, real, emotional and mysterious”. He is undoubtedly making his mark in the Kenyan music scene, whilst validating the importance of music in self-expression as well as bringing people together.