Singer, songwriter, pianist, guitarist and music lover

Karun is an R&B/Soul singer, songwriter and music producer based in Nairobi. She makes raw, honest, and meditative music with the intention of easing the daily anxieties of anyone who plays her music.

Karun’s catalogue consists of notable R&B singles such as “Only You - A COLORS SHOW”,  “Here With Me” - an Afro-pop inspired love song off her sophomore EP “Catch A Vibe”, and “Glow Up” a body positive anthem that was premiered on Mr Eazi’s Empawa Africa program. 

Some notable collaborations include “Video Games” with South African R&B singer Ricky Tyler, “Anticipate” with Xenia Manasseh, and “Imagination” by Cedo ft Nyashinski and herself.
Karun also features on songs with Grammy award winning artists such as Juls’ on “Say You Love Me”, and Savara of Sauti sol’s “VIBRATION”. 

She has made notable career strides in her decade long career such as being featured on Forbes Top 30 Under 30 Africa list (2019), won awards and nominations namely "R&B artist of the year"  (Cafe Ngoma Awards) and Afrima (nomination) 2021, had her songs featured in films and ad placements such as her song “Interlude (Sun)” in Fox TV’s “The Resident” (S02E12), and collaborated with multiple Brands such as Focusrite, Nivea and more.

Every chapter of Karun’s journey marks a new version of herself. And for that reason she is always “only just beginning”, stay tuned for her next project “À nu”.

Stream/Download "Trust" Here: https://smarturl.it/AB_Trust

mgmt: info@emagen.com

“oOo (that’s my type)” and “omg” out now

MGMT: 
af@loyaltmgmt.com

BOOKING:
N/S America, Asia, Australia: 
mmarquis@paradigmagency.com
max@amonly.com 

UK/Europe:
nick@codaagency.com 

Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project, and in a little over a year’s time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You’ve never heard this before, yet it’s surprisingly familiar. And it’s only the beginning.

The Prize is named in celebration of the late Sir Michael Caine, former Chairman of Booker plc, who was Chairman of the 'Africa 95' arts festival in Europe and Africa in 1995 and for nearly 25 years Chairman of the Booker Prize management committee.

Shortly before he died, Sir Michael Caine was working on the idea of a prize to encourage the growing recognition of the worth of African writing in English, its richness and diversity, by bringing it to a wider audience. His friends and colleagues decided to carry this idea forward and establish a prize of £10,000 to be awarded annually in his memory.

As he intended, the Caine Prize is open to writers from anywhere in Africa for work published in English. Its focus is on the short story, reflecting the contemporary development of the African story-telling tradition.

Peter Ndichu is following