“You are an alien, not a woman” is one of the most memorable compliments Kety Fusco has received in her career. Earlier this month in Nairobi, she basked in its glow after delivering an exhilarating performance on her debut visit to Kenya.
The occasion was International Jazz Day at Mass House, and the crowd had just witnessed Kety traverse a sonic spectrum — from slow, melancholic refrains to frenetic rhythms; from classical waltzes to industrial pulse; from elegance to electrification. It was a masterclass in contrast and conviction.
“One girl came up to me after the show, visibly stunned,” says Kety. “She said she couldn’t believe what she had just seen.”
It was validation. This was her first time performing in Kenya, and given that her sound defies traditional genre boxes, she hadn’t known what to expect from the audience.
Born in Italy and now based in Switzerland, Fusco began playing the harp at the age of six. She trained formally, earning a degree in Classical Harp and later a Master’s in Musical Performance.
While many of her conservatoire peers pursued careers in classical orchestras or teaching, Kety charted a radically different path.
“I didn’t want to live off other people’s compositions. I only wanted to play what came from within me.”
Kety embraced the electric harp, then an uncommon choice of instrument in contemporary performance, and began composing and performing original material.
At first, the sound was unfamiliar. But through club gigs, parties, festivals, and special projects, her sound began to find its audience.
Her breakthrough came when Universal Music took notice and signed her for a debut album and European tour. Later, she parted ways with the label, seeking more creative freedom.
She launched her own imprint and released an experimental album that would change her trajectory.
American music icon Iggy Pop stumbled across the album and played it on BBC Radio in London. The response was immediate — and resounding. More tours followed, spanning Europe, Mexico City, and Peru. Iggy Pop would eventually appear on her second album — a cosmic nod, as Kety puts it, to the music gods.
In Kenya, what struck Kety most was not just the audience reaction, but the spirit of the local music scene.
“There’s a unique emotional imprint here. The music, even when played abroad, never sounds the same. In Kenya, musicians play with their whole soul. It’s not just about technique — it’s about the need to play. I relate to that deeply.”
Today, Kety makes a full-time living from music. Supported in part by the Swiss government, thanks to her advanced music degrees, she tours relentlessly, rarely staying home for more than a week at a time.
“If I stay in one place for more than three days, I get anxious. I need to be playing constantly. Music is the object of my life. I want to live with it until the end.”
She also composes soundtracks for film, and is proficient in piano, flute, and organ. But the stage, she says, remains her truest canvas.
Harpist Kety Fusco posing with her electric harp during an interview at the Geco Café in Nairobi on May 6, 2025.
Photo credit: Evans Habil | Nation Media Group
Despite her classical roots, Kety resists genre labels.
“I use both acoustic and electric harp. My influences span classical, electronic, ambient, even noise. But I don’t want to categorise myself. I think anyone who plays a classical instrument should be free to explore, without being boxed in. Some call it cinematic, others call it experimental—but for me, it’s just sound.”
Her artistic autonomy comes with a cost.
“In Switzerland, especially as an independent artist, you have to manage everything; your calendar, logistics, production, budgeting. I have a manager, yes, but I want control over my music. I’d love to just focus on playing, but I have to do everything to make the main thing function. It’s overwhelming. I work 20 hours out of 24 some days. The mind never stops.”
What keeps her grounded?
“Honestly, I don’t always know. I’m extremely hyperactive. I go to therapy now, it helps. I need someone to help me process the intensity of my thoughts and emotions. I’m very sensitive.”
Early in her career, she played for free. Her first paid gig earned her CHF 350 (around Sh58,000). Her largest paycheck? CHF 17,500 (Sh2.91 million). A testament, perhaps, to her growing stature and her refusal to compromise.
What, in her view, makes a great harpist?
“Authenticity. I’ve had chances to change myself to become more popular, but I refused. It’s better to take time, stay close to your ideas, and wait for your audience to find you. If you’re true to your voice, they will.”
