Nilli: Gen Z voice redefining Kenyan music and mental wellness

Gloria Wanjiru, better known by her stage name Nilli, embodies a rare blend of introspective creativity and vibrant Gen Z spirit. She is a talented composer and powerful vocalist whose stage presence reflects her free-spirited nature.

As she settles down for the interview, the 18-year-old is already at ease, flipping through music reels and laughing over TikTok videos. This is her nature—open, expressive, and effortlessly engaging.

It’s no surprise that her stage name, Nilli, was born from a personal reinvention. “I liked how it sounded—soft but strong. It’s just me,” she says.

Every lyric she writes carries a piece of her journey. She stands out in a new wave of Kenyan artistes redefining the creative space with a breath of fresh air and emotional relief.

When she talks about music, it’s never just about notes and sound.

“It’s the one thing I was scared of but drawn to the most,” she reflects.

That tension—the pull between fear and passion—shaped her early years through childhood arts camps and teenage songwriting.

“I felt more connected to music from a young age. I enjoyed it more than any other activity,” she says.

As the eldest of three siblings, Nilli grew up with a sense of responsibility and emotional awareness.

“I’m the glue, the thinker of the family,” she says, describing how her nurturing nature shaped her ability to create music that resonates with honesty and depth.

Raised in a creative environment, she credits much of her success to her mother, who also serves as her manager—or “momager,” as she fondly calls her.

“She’ll say, ‘Don’t look at me like your mum. Look at me like your manager,’” Nilli recalls, highlighting the duality of a relationship that balances care with career building.

Nilli’s musical influences are wide-ranging. Internationally, she looks up to Beyoncé, H.E.R., and Billie Eilish—artistes who combine vulnerability with power.

Locally, she draws inspiration from Nviiri the Storyteller, Zaituni Wambui, Nikita Kering, and Sauti Sol, all of whom she admires for their lyrical honesty.

“I borrow, I don’t copy,” she says. “I want to learn how they feel their words—but I want to sound like me.”

Her musical style resists strict categorisation. It sits at the intersection of R&B, pop, and soul, with subtle Afro-inspired undercurrents. But what’s more striking is her commitment to evolution.

She constantly experiments with her sound—working with different producers and freestyling melodies until something clicks.

“I freestyle a lot. I record whatever comes to mind, then go back and rearrange to make sure the message is right. Sometimes I start with a beat. Sometimes it’s just a line stuck in my head.”

This organic process has helped her write over 50 songs so far, many of which are yet to be released. Her songwriting is inspired by personal experiences—or those of people close to her.

“Sometimes it’s me, sometimes I’m watching someone and I think: how do I write a song that speaks to what they’re feeling?”

That empathy bleeds into every track, allowing her music to feel like a conversation between friends.

Her debut single, Just Myself, released through a partnership with the AFTI program, marked her official entry into the industry and introduced her as a champion of self-acceptance. She chose the song over two others—Merry Go Round and All Out—believing it was her strongest vocal performance and most authentic introduction.

“I picked Just Myself because I felt most connected to it. It spoke about self-love in a real way. It was a message I needed to hear myself,” she says.

While she acknowledges that her vocals had matured significantly by the time she recorded Merry Go Round just months later— “I could hear the growth in my voice and control.”

That decision paid off. Her performances of Just Myself in two videos — one a standalone concept, the other tied to the AFTI performance showcase — allowed her to express both her raw identity and her readiness for the stage.

Since that debut, her sound has deepened, her writing grown more layered, and her confidence noticeably sharper. Two new singles, both recorded with different producers, are slated for release by September.

Each explores different emotional landscapes and musical aesthetics. She’s also beginning to map out possible collaborations with fellow Kenyan artistes like Tulia and Zaituni Wambui — musicians she says she admires for their distinct voices and artistic presence.

But Nilli’s vision goes far beyond music. She’s preparing to begin university studies in counseling psychology—a field that aligns with her commitment to healing and human connection.

“Music is how I help people feel seen,” she explains. “But I also want to support them in deeper ways. Mental wellness matters to me, and I want to help without it being stigmatised.”

Her interest in psychology comes from years of being the emotional anchor for friends and family. It now underpins her broader mission to merge creativity with care. That dual calling—artist and advocate—also fuels her bond with fans, many of whom message her to say how her music has helped them through tough times.

Nilli is introspective and curious. She reads, spends time with her siblings, and designs clothes from scrap fabric. She’s also a true crime documentary enthusiast. While she describes herself as introverted, she’s deeply driven—constantly pushing herself to grow, evolve, and take creative risks.