Where are they now?

From the early 2000s to the post-2010 era, these musicians not only defined local entertainment but also set benchmarks for the industry. Today, we catch up with two pioneers—DJ KBoz and Killa-B—who left an indelible mark on Namibian music. Where are they now, and how do they view their legacies?

DJ KBoz: The architect behind Namibia's biggest hits

For over two decades, DJ KBoz, a Kenyan-born producer and sound engineer, played a pivotal role in shaping Namibia’s music industry. His influence extended beyond production; he launched careers, mentored rising stars, and crafted hits that still resonate today.

Reflecting on his contributions, DJ KBoz highlights his role in launching Sally Boss Madam’s career, as well as Exit and Mushe, both as a group and in their solo endeavors. “I also founded the group Cyberspace and launched Waters’ career with his first album, ‘Grey,” he recalls.

His production credits include some of Namibia’s biggest collaborations, such as Gazza and Davido's ‘Kunamkweni Remix,’ as well as King Tee Dee (The Dogg) and Diamond Platnumz's joint effort, which he recorded alongside Mr. Glo. His mentorship extends to DJ Vuyo, elevating his sound to industry standards, and he played a key role in Yeezir's rise, producing his debut EP and engineering the hit ‘The Vibe’ by DJ Castro, Yeezir and Nokwazi.

Despite his impact on the industry, DJ KBoz has taken a step back from the Namibian music scene. Now back in Kenya, he focuses primarily on engineering work for European and Canadian clients, while also exploring business ventures. “I’m not really doing much in the music scene here, apart from engineering. I’m enjoying being back home,” he shared.

Killa-B: The quiet legend with a resounding legacy

For fans of Namibian music in the early 2000s, Killa-B was a dominant force. Known for his lyrical prowess and unmatched stage presence, he was the first-ever Artist of the Year winner at the Sanlam Music Awards. “Music is for the brave, the passionate, and those with faith,” Killa-B reflects. His roots in choir music provided a solid foundation for his vocal skills, and his involvement in Namibia’s first talent show, Weekad Crew Talent Shows (sponsored by Pepsi), showcased his dedication to grooming new talent.

Despite his undeniable influence, Killa-B has remained somewhat low-key in recent years. He now owns a sound company and has dedicated himself to expanding Namibia’s music scene beyond its urban centers. “My absence has been strategic. Alongside my team, we decided long ago to expose the less developed regions to the industry and its operations. I have performed in nearly every town over the years,” he explains.

That doesn’t mean he’s done making music. Killa-B is set to release a new album, ‘Heart of a Lion’ featuring major collaborations and a sound that reflects his evolution as an artist. “I created a musical catalog that will leave my fans screaming for more. This is one of the biggest albums of my career,” he teases. A countrywide tour is planned post-release, and he hopes to secure strong sponsorships to push the project even further.

As an industry veteran, Killa-B has strong opinions on Namibia’s current musical landscape. “The local industry is still struggling to find an international sound identity. Just like we introduced magaisa, shambo, kwiku, oviritje, and township dance, we need to help the new generation craft an authentic Namibian sound,” he asserts. He believes the industry needs to be more collaborative and focused, urging artists to invest wisely rather than chasing fleeting trends.

A legacy that endures

Both DJ KBoz and Killa-B acknowledge the challenges that come with longevity in the music business. From industry politics to the rise of digital platforms, they have had to evolve while staying true to their artistry. Despite stepping back from the spotlight, their legacies remain intact, influencing a new wave of artists who continue to push Namibian music forward.

For Killa-B, the message to his fans is simple: “The industry needs to embrace its legends and honor their contributions. If we don’t give our veteran artists their fair chance, we risk stagnation. But rest assured, I’m not done yet. My fire is still burning, and Namibia is about to witness a revolution in sound.”