Base to Billboardz (B2B) has named Muringi Matheri, Manasseh Shalom, Zawadi Mukami, Chris Barr, Peter Njuguna and Ras Amor as the six finalists for its inaugural six-month artist development programme, the organisers said on March 27 in Nairobi.

According to the press release, the programme was launched in February and is backed by Kenya Breweries Limited (KBL) through its Tusker brand, in partnership with musician Bien, who will serve as the principal mentor. The finalists were selected from a shortlist of 30 artists through voting by members of the public and industry experts during a live showcase event held at the Tusker Brew House, the organisers said.

The announcement places a spotlight on the growing role of corporate-backed programmes in Kenya’s creative economy, where music is increasingly viewed as both a cultural product and a commercial sector linked to streaming revenues, live events, brand partnerships and intellectual property earnings. For Kenya’s beverage and consumer brands, such platforms can also serve as marketing channels, while for artists they can offer structured access to skills, networks and industry knowledge that are often fragmented.

Christine Kariuki, Head of Mainstream Beer at KBL, said the company plans to follow the artists’ progress through the programme. “Since the launch, we have been eager to witness the six artists in action, and we look forward to tracking the impact of this initiative on their growth and development,” Kariuki said. “We want to support them every step of the way as they elevate their careers.”

The press release identified each finalist with a song associated with their recent visibility: Muringi Matheri for Managī, Manasseh Shalom for Dark Brown Eyes, Zawadi Mukami for Jua Tua, Chris Barr for Hamu, Peter Njuguna for Delulu, and Ras Amor for Hawa Wasichana.

B2B said it is structured as a career accelerator rather than a music competition, and does not offer a cash prize. The organisers said eligibility focused on semi-established artists who had already released bodies of work such as an album or EP, had live performance experience, had at least one million career streams, and an online audience of more than 10,000.

Over the next six months, the finalists will participate in weekly workshops covering vocals, songwriting and movement, as well as monthly masterclasses focused on the business of music, including branding, publishing, distribution, contracts, monetisation and international expansion, according to the press release. The programme will involve Bien and five additional coaches.

Bien said the cohort reflects the breadth of Kenya’s music output and argued that structured support can help artists sustain careers. “I am quite optimistic about the level of talent and originality we are seeing from the artists in this programme,” Bien said. “Each of them brings a unique sound and perspective that reflects the richness of Kenya’s music scene.”

For Kenya’s music industry, programmes that prioritise publishing, contracts and distribution can influence how emerging acts approach rights ownership and revenue streams in an era dominated by digital platforms. Industry stakeholders have repeatedly pointed to gaps in mentorship and commercial backing as barriers that prevent artists from converting short-term attention into sustainable income—an issue B2B says it intends to address.

The organisers said the programme will culminate in the six artists forming a new collective and releasing a joint album, which will be presented at a launch event. Key milestones to watch will include the rollout timeline for the workshops and masterclasses, details of the additional coaches, and the release schedule and distribution plan for the joint album.

Google has expanded its Search Live feature globally, making it available in all languages and locations where its AI Mode is available, the company said on Thursday in a statement distributed to media. The expansion enables users in more than 200 countries and territories to hold real-time conversations with Search in AI Mode using both voice and camera.

The rollout is linked to the launch of Gemini 3.1 Flash Live, which Google described as a new voice and audio model designed to support multilingual, real-time interactions. Google also said it is expanding Google Translate’s “live interpreter headphone experience” to iOS devices—where it was previously available on Android—and to more countries.

The changes matter for Kenya and other African markets where Google products are widely used for consumer search, mobile-first information access and business discovery. Real-time, voice-led search and camera-assisted queries could shape how consumers research products and services, while broader live translation support may affect cross-border travel, customer service and multilingual commerce in a region with diverse languages.

In its overview of the announcement, Google said: “Search Live has launched globally, for all languages and locations where AI Mode is available.” The company added that “people in more than 200 countries & territories can have real-time conversations with Search in AI Mode, using both voice and camera.”

Google also introduced the underlying model it says enables the rollout. “Introducing Gemini 3.1 Flash Live, Google’s latest voice and audio model,” the company said, adding that the model is “inherently multilingual” and supports the global expansion of Search Live.

According to the statement, Gemini 3.1 Flash Live will be available through multiple channels: developers can access it via the Gemini Live API in AI Studio in preview, enterprises can use it through Gemini Enterprise for Customer Experience, and consumers can use it through Search Live and Gemini Live globally.

For Kenyan developers and technology firms building voice-driven applications, Google’s decision to make a “Live API” available in preview could lower the barrier to prototyping conversational interfaces for sectors such as fintech support, retail, health and logistics. For enterprises, the inclusion of the model in customer experience tools indicates increased competition among cloud and AI providers targeting contact centres and customer engagement workflows across Africa.

The iOS expansion of Google Translate’s live interpreter headphone experience may also be relevant in markets with high iPhone usage in business settings and among international travellers. If rolled out locally, the feature could support meetings, hospitality and other service industries that rely on rapid, accurate interpretation.

Google did not provide rollout timelines for specific countries beyond stating the global availability parameters tied to AI Mode, nor did it disclose pricing for developer or enterprise access. The company directed readers to product blog posts and a press kit for additional details.

Next, the pace of adoption in Kenya is likely to depend on AI Mode availability, user awareness, data costs and enterprise readiness to integrate live voice and translation tools into customer-facing operations. Developers will also watch for changes as the Gemini Live API moves from preview to broader release.

Base to Billboardz (B2B) has named Muringi Matheri, Manasseh Shalom, Zawadi Mukami, Chris Barr, Peter Njuguna and Ras Amor as the six finalists for its inaugural six-month artist development programme, backed by Kenya Breweries Limited (KBL) through its Tusker brand and mentored by musician Bien.

The announcement was made on March 27, 2026 in Nairobi, following a live showcase at the Tusker Brew House where the finalists were selected from an initial shortlist of 30 through a combination of public voting and input from industry experts, according to the organisers.

B2B was launched in February and is positioned by its backers as a career accelerator rather than a conventional music competition. The programme does not provide a single “winner-takes-all” cash prize, and instead focuses on training and industry readiness for artists who already have market traction, the statement said.

Christine Kariuki, Head of Mainstream Beer at KBL, said Tusker will track the artistes’ progress through the programme. “Since the launch, we have been eager to witness the six artists in action, and we look forward to tracking the impact of this initiative on their growth and development. We want to support them every step of the way as they elevate their careers,” Kariuki said. She added that the brand’s aim is to contribute to Kenya’s music and cultural scene.

The organisers identified each finalist with a track associated with their growing profile: Muringi Matheri (“Managī”), Manasseh Shalom (“Dark Brown Eyes”), Zawadi Mukami (“Jua Tua”), Chris Barr (“Hamu”), Peter Njuguna (“Delulu”) and Ras Amor (“Hawa Wasichana”).

According to the press release, eligibility for B2B targets semi-established Kenyan artists who have released an album or EP, have live performance experience, at least one million career streams, and an online audience of more than 10,000 followers. The programme’s curriculum includes weekly workshops on vocals, songwriting and dance or movement, plus monthly masterclasses on the business side of music such as branding, publishing, distribution, contracts, monetisation and international expansion.

Bien, named as the principal mentor, said the selected artists show originality and promise. “I am quite optimistic about the level of talent and originality we are seeing from the artists in this programme. Each of them brings a unique sound and perspective that reflects the richness of Kenya’s music scene,” he said. “I am excited about what lies ahead because with the right mentorship, structure, and commitment to the craft, they have the potential to grow into artists who can compete and thrive on bigger stages, both locally and globally.”

The initiative adds to a growing trend of corporate-backed creative economy programmes in Kenya, where brands increasingly invest in music platforms as both cultural sponsorship and a route to audience engagement. For the music sector, structured mentorship and business training address persistent gaps that often prevent artists from converting online popularity into durable income, including weak contract literacy, limited publishing knowledge, fragmented distribution strategies and inconsistent access to professional networks.

The organisers said the programme will culminate with the six finalists forming a collective and releasing a joint album, which will be introduced at a launch event. They argue that the approach responds to challenges faced by semi-established artists, including limited mentorship and insufficient commercial backing, even as demand for Kenyan music grows.

Tusker has previously supported Kenyan music through platforms such as Tusker Project Fame, Nexters and Oktoberfest, and the company said B2B shifts emphasis toward longer-term artist development.

Kenyan rugby player Andy Cole Omolo is set to relocate to Japan to join Tenri University’s rugby programme in Osaka, in a move that will see him combine academics with competitive sport, according to a statement issued by KCB. The 21-year-old lock, who turns 22 on May 2, will pursue a degree in International Relations while playing for the university.

Omolo is currently attached to KCB Rugby Club and is part of the Kenya Simbas setup, the statement said. His switch adds to a growing trend of Kenyan athletes using education-linked pathways to access overseas playing opportunities, particularly in markets where university rugby serves as a feeder system into professional leagues.

“This is a big step for me and the first step towards becoming a professional rugby player. I am excited about the opportunity to grow both academically and on the pitch in Japan. I extend gratitude to Wazi Wazi and DBA Africa for their relentless pursuit of this chance,” Omolo said in the statement.

Omolo’s development has been closely tied to western Kenya’s school rugby pipeline. He was born and raised in Chavakali and attended Walodeya Primary School, where he started playing rugby in Class 7.

“I grew up in Chavakali and went to Walodeya Primary School. I started playing rugby in Class 7, but I wasn’t very serious at the time; I was still focused on football,” he said.

His commitment to rugby deepened at Chavakali High School from 2019, where he trained with the Kabras age-grade team, played for Western Chipu while still in school, and captained the school side for two years, according to the statement.

“When I joined Chavakali High School, that’s when I really focused on rugby. I trained with the Kabras age-grade team, played for Western Chipu while still in high school, and had the privilege of captaining Chavakali for two years,” Omolo said.

After high school, he joined Masinde Muliro University of Science and Technology (MMUST), where he featured in three Kenya Cup matches before the team’s relegation, KCB said. The statement added that his performances earned him a call-up to the national Under-20 side in 2023. He later moved to KCB Rugby Club.

KCB Rugby Club head coach Andrew Amonde said the Japan opportunity reflects Omolo’s development since joining the club.

“Andy has shown tremendous discipline and work ethic since joining KCB. His progression has been impressive, and this opportunity in Japan is well deserved. We believe this move will expose him to a higher level of competition and help him reach his full potential,” Amonde said.

For Kenya’s sports business landscape, the move underscores how local club structures and sponsorship ecosystems are increasingly linked to international player pathways. While the statement did not disclose financial terms of the move, overseas placements can raise player valuation, broaden talent exposure, and strengthen the profile of Kenyan rugby institutions among foreign recruiters.

KCB also positioned the transfer as an example of how education and sport can be paired to unlock cross-border opportunities for athletes. The bank maintains sports assets across several disciplines, including KCB Rugby Football Club, KCB Football Club and KCB Women Volleyball Club, it said.

Omolo is expected to transition to Tenri University ahead of his academic and rugby schedule in Japan. His progress in Osaka will be watched by local clubs and the national team setup as Kenya continues to build depth in forward positions and expand player export routes beyond traditional destinations.

Kenya Revenue Authority (KRA) on March 26, 2026 issued a press statement denying media reports that it had imposed tax debts on former Cabinet minister Raphael Tuju, saying the reports were “incorrect and misleading to the public.” The statement followed a television interview aired by a local TV station that discussed Tuju’s tax status.

In the statement, the tax authority said it had “noted with concern recent media reports alleging that it has imposed tax debts on Hon. Raphael Tuju.” KRA added that the reports did not reflect its position on the matter.

The clarification comes amid heightened public scrutiny around tax compliance of high-profile individuals, an issue that often triggers reputational, regulatory and political ramifications. For businesses and investors, tax disputes—whether involving corporates or prominent individuals—can also influence public confidence in enforcement processes, transparency and the broader operating environment.

KRA said the reports were inaccurate. “The Authority wishes to clarify that Hon. Tuju is a compliant and valued taxpayer. The information is therefore incorrect and misleading to the public,” KRA said in the press statement.

The Authority also restated its mandate and operational posture. “KRA reiterates that its mandate is to collect and account for revenue on behalf of the Government of Kenya. In executing this mandate, the Authority remains committed to ensuring that taxpayers are treated with fairness and professionalism,” the statement said.

While KRA did not provide additional detail on the TV interview, the nature of the alleged claims, or any specific tax assessment figures, the agency’s response underscores the sensitivity of public commentary around tax administration and compliance. In Kenya’s current fiscal environment—where the government continues to pursue stronger revenue performance—tax enforcement remains a central policy and business issue, affecting household consumption, corporate cash flows and sector profitability.

KRA urged tighter verification to curb misinformation. “We urge the public and media to verify information with the Authority to avoid the spread of inaccurate reports,” the statement said.

The press statement was signed off under the Office of the Deputy Commissioner, Citizen Relations and Communication. The content was shared with media by James Kariuki, identified in the email signature as Editorial and Media Relations Lead at Apex Porter Novelli.

Looking ahead, the statement signals KRA’s intent to actively rebut reports it considers inaccurate, particularly on matters that can affect taxpayer reputations and public trust in revenue administration. It also places renewed emphasis on direct verification with the Authority as tax-related stories continue to attract public attention and market interest.

Kenya Airways said global aviation supply-chain disruptions and aircraft maintenance constraints significantly impacted its full-year performance for the period ended 31 December 2025, even as demand for travel remained firm and the airline pursued capacity recovery and diversification.

During the results announcement, Kenya Airways Chairman Kiprono Kittony said the carrier’s performance should be viewed against an industry backdrop of “unprecedented operational constraints”, including supply-chain delays and reduced aircraft availability, rather than a collapse in passenger demand.

“While our financial performance reflects a challenging year, it is important to recognise that this was driven primarily by global supply chain disruptions and not a lack of demand. The appetite for travel remains strong, and the strategic relevance of Kenya Airways has never been more evident,” Kittony said.

Maintenance, groundings and operating shocks

According to a results backgrounder shared with media, Kenya Airways said maintenance and grounded aircraft were the main drag on 2025 performance, with additional cost pressures stemming from engine shortages, bird-strike damage in Nairobi, longer routings due to airspace closures, and higher fuel burn on rerouted flights to Europe.

The airline estimated that bird strikes have, over roughly seven years, resulted in at least eight engines being on the ground at one point and two engines becoming “beyond economic repair,” according to the backgrounder.

Management also noted that passenger operations remain low-margin, describing passenger unit contribution as “very thin,” which increases the financial impact of disruptions. The airline cited further constraints including supply-chain delays for parts, a global shortage of maintenance, repair and overhaul (MRO) capacity, and the cost of keeping aircraft and employees on the ground while awaiting engines, repairs or scheduled maintenance.

Kenya Airways also pointed to operational constraints at Jomo Kenyatta International Airport (JKIA), including baggage and processing bottlenecks, and to regulatory and tax conditions that, it said, leave African carriers structurally disadvantaged compared with better-supported competitors.

Stabilisation strategy and engineering capability

Kenya Airways said it is entering a second phase of its turnaround centred on stabilisation, capacity recovery and diversification. The airline’s immediate priorities include restoring aircraft availability, protecting cash and reducing the cost burden of an ageing fleet entering heavy maintenance cycles.

Management said several aircraft have been released back to service, with more undergoing A-checks and C-checks between January and June in order to return in time for the June-to-October peak season.

The airline highlighted what it described as its first in-house heavy check on a Boeing 787 as a milestone for its engineering capability. It also said it has regained unrestricted EASA Part 145 certification, including approval for the Boeing 777, which it said strengthens its ability to serve other carriers.

Cargo expansion and market-share targets

Cargo is becoming a larger part of the business model, with management positioning it as a growth engine alongside passenger operations. Kenya Airways said thin passenger margins—estimated at US$1.30–US$1.40 per seat (about KES 168–181, using an indicative rate of KES 129 per US dollar)—make cargo and belly-hold capacity important for resilience.

The airline said it has expanded cargo capacity from 70 tonnes daily (across four 737 freighters) to 180 tonnes, and is targeting a larger share of the market. Kenya Airways said it is handling 28% of Kenya’s cargo market and cited a recent capacity purchase agreement involving a Boeing 747 freighter that moved nearly 100 tonnes inbound from Sharjah and dispatched over 110 tonnes of perishables outbound to the UAE.

Looking ahead, Kenya Airways said two additional 777 freighters, each with 100 tonnes capacity, are planned—one in four months and another by November 2026—targeting over 40% Kenyan market share and 15% African share, subject to partnerships and operating conditions outlined in the backgrounder.

Why it matters for Kenya

The airline argued that its performance and capacity have outsized implications for exporters, tourism, and Nairobi’s position as a regional hub. The backgrounder stated that aviation and tourism drive 40% of Kenya’s services exports, contribute US$3.3 billion to GDP (about KES 426 billion), and support 21,000 direct jobs plus 500,000 indirect jobs. It also said Kenya Airways carries 5.2 million of JKIA’s roughly 9 million annual passengers, or about 60% of total traffic.

For Kenya’s business landscape, the cargo push could support horticulture and other time-sensitive exports, while expanded maintenance capability could reduce reliance on foreign MRO capacity and create new revenue streams from third-party servicing. However, the airline’s outlook remains tied to global supply chains, fleet availability and airport infrastructure performance.

Outlook

Kenya Airways said the outlook is “cautiously positive,” contingent on continued improvement in maintenance recovery, supply-chain access and policy support. The airline expects more aircraft to return to service, stronger cargo contribution and improved unit economics as peak season demand comes through and heavy checks are completed ahead of the busy months.

HACO Industries Limited has partnered with Mama Fua App Kenya to conduct a training programme for cleaning and laundry professionals in Eldoret, in a move the company says is intended to improve skills and standards in the informal homecare services sector.

In the press statement, HACO said the programme targets individuals working in cleaning and laundry services—often referred to as “Mama Fua”—and focuses on practical competencies including modern laundry techniques, effective homecare practices, and fabric care and protection.

The initiative comes as Kenya’s household services market continues to formalise gradually through digital platforms and aggregators connecting workers with clients. For manufacturers and distributors of homecare products, the sector’s growth and standardisation can influence product adoption, usage patterns and customer loyalty, especially in urban and peri-urban markets.

HACO said the Eldoret training is designed to help participants deliver higher quality services and improve their earning prospects. “The initiative is designed to support individuals working in the cleaning and laundry sector, popularly known as Mama Fua, by providing professionals training in modern laundry techniques, effective homecare practices, and proper use of cleaning and laundry fabric care and protection,” the company said in the release.

Joan Chege, Home care Category Manager at HACO Industries, said the partnership aligns with the firm’s broader focus on supporting communities and the local microenterprise ecosystem around homecare services. “At HACO Industries, we recognize the important role that cleaning and laundry professionals play in households. Through our partnership with Mama Fua App Kenya and our ACE brand, we aim to improve practices, provide practical training and tools to empower professionals to improve their service, grow their business and create their economic opportunities,” Ms Chege said.

According to the statement, the programme was carried out in partnership with the Mama Fua App Kenya platform, which connects cleaners and laundry workers with clients. HACO said the training also covered best practices around hygiene standards and workplace safety, alongside cleaning solutions.

For Kenya’s broader business landscape, the partnership reflects the increasing overlap between consumer goods companies and platform-based service providers, particularly in segments where product performance and correct usage can affect customer satisfaction. Industry players have increasingly used skills programmes and community training to influence product literacy while also addressing service quality gaps in fragmented markets.

The press release did not disclose the number of participants trained, the duration of the programme, or the financial commitment by either party.

HACO said it plans to continue working with stakeholders in the cleaning and laundry sector, positioning the Eldoret programme as part of a wider effort to strengthen standards and support livelihoods.

Tusk and Lewa Wildlife Conservancy on March 24, 2026 launched the 26th edition of the Lewa Safari Marathon in Nairobi, opening entries for the June 27 race at Lewa Wildlife Conservancy and setting a fundraising target of more than KSh15 million, according to organisers.

In a statement issued at the launch, the organisers said proceeds will be directed to wildlife protection as well as community needs such as health and schools. International entries are already open, with entries for Kenya and East Africa scheduled to open on March 27.

The Lewa Safari Marathon has raised KSh1.3 billion since its first edition in 2000, according to the organisers. They said funds have supported conservation initiatives linked to improved outcomes for species including Hawksbill turtles, Grevy’s zebras, rhinos and mountain bongos, and have also financed community programmes including more than 40,000 clinic visits and multiple school initiatives. The statement did not provide a breakdown of the KSh1.3 billion by year or beneficiary.

Mike Watson, CEO of Lewa Wildlife Conservancy, said the event’s contributions extend across conservation and livelihoods. “Every step taken at the Lewa Safari Marathon powers real, measurable conservation impact. Through the commitment of every runner and supporter, we are securing critical habitats, protecting endangered species, and building resilient communities with sustainable livelihoods,” Watson said, adding that sponsors remain central to delivering the programme.

Chantal Migongo-Bake, Tusk’s Chief Conservation Officer, said the marathon is designed to mobilise international and local support for conservation and community programmes. “The Lewa Safari Marathon is more than just a race, it’s a running challenge with purpose… This incredible event continues to raise vital funds that innovate conservation efforts, protect critical landscapes and threatened species, and uplift livelihoods,” she said.

Safaricom, the event’s main sponsor since inception, said it will provide KSh10 million in support for the 2026 edition. Peter Ndegwa, CEO of Safaricom, said: “As part of our continued commitment, we will this year support the event to the tune of KES 10 million… we are equally proud to enable conservation through connectivity, ensuring that Lewa remains digitally empowered to protect wildlife more effectively.”

Huawei Kenya said it will also continue its sponsorship, which the organisers said has run for more than a decade. Gao Fei, CEO of Huawei Kenya, said: “Huawei is delighted to have been a long-standing supporter of the Lewa Safari Marathon.”

Beyond Safaricom and Huawei, the organisers listed additional 2026 partners as National Bank of Kenya, ICEA Lion, Tropical Heat, Safarilink, AMREF, Elewana and Land and Life. They said partner contributions provide core financial support used for conservation and community initiatives.

The race has full marathon, half marathon, 10K and a children’s race. Organisers said more than 25,000 runners from over 40 countries have participated over the years, including Kenyan athletes Eliud Kipchoge, Paul Tergat and Catherine Ndereba. They also cited Runner’s World recognition of the race among top amateur events globally.

For Kenya’s business landscape, the marathon illustrates a recurring model of corporate-backed conservation financing, linking brand partnerships to measurable funding for protected areas and adjacent communities. With the tourism value chain closely tied to wildlife assets, such events can influence conservation budgets, local enterprise activity and destination visibility in the wider Mount Kenya–Laikipia ecosystem.

Organisers said the 2026 race will be held at Lewa Wildlife Conservancy, a UNESCO World Heritage Site, with proceeds supporting a range of Kenyan conservation organisations including Borana Conservancy, Grevy’s Zebra Trust, Lamu Marine Conservation Trust and Tsavo Trust, among others. The next milestone is the opening of Kenya and East Africa entries on March 27 ahead of the June 27 event.

Spotify has begun rolling out a new beta feature dubbed SongDNA to Premium users globally, aiming to show the creative links behind individual tracks by surfacing credits and related works directly in the mobile app’s Now Playing view.

In a media statement dated March 24 and issued from Nairobi, Spotify said SongDNA is built into the Now Playing screen on iOS and Android. The company said the feature is available on “supported tracks” and will become broadly available to all Premium users “throughout April.”

According to Spotify, users can tap a SongDNA card to explore a track’s writers, producers and collaborators, alongside samples and interpolations that influenced the song and covers it later inspired. The company said the card is designed to let listeners follow those links further—tapping through creators and their other collaborations—to see how artists and genres connect over time.

The launch adds to a growing set of in-app context tools music platforms are using to drive engagement. For Kenya’s fast-growing streaming audience and creator economy—where discovery and attribution are increasingly tied to monetisation—features that make credits and rights ownership more visible can influence how creators build followings and how audiences understand who is behind a hit.

Spotify said the information powering SongDNA “is powered by a combination of information we receive from artists and their teams, supplemented by community-sourced data.” As the company tests the experience, it said eligible artist and label teams can “review and manage the components of SongDNA” through Spotify for Artists.

“SongDNA is designed to make a song’s creative lineage more transparent so fans can easily explore the people and influences behind the music they love,” Jacqueline Ankner, Spotify’s Head of Songwriter & Publisher Partnerships, said in the statement. “By bringing collaborators, samples, and covers together in one place, we’re making it easier for fans to discover new music and see how songs connect and come to life—while giving songwriters, producers, and rightsholders meaningful recognition for the role they play in creating it.”

Spotify positioned SongDNA as complementary to its existing “About the Song” beta feature, which provides track-specific context. While About the Song focuses on a single track’s story, Spotify said SongDNA is intended to enable exploration across related works and contributor networks.

For the Kenyan and wider East African market, the rollout underscores how streaming platforms are competing not only on catalogue size and pricing but also on product features that deepen listening time and improve the visibility of behind-the-scenes contributors. More prominent attribution could also support local songwriters, producers and engineers seeking recognition across borders—especially where credits have historically been inconsistent across digital services.

Spotify included updated user metrics in its statement, saying it has 626 million monthly active users and 246 million Premium subscribers globally, and that it operates in more than 180 markets.

The company said SongDNA is rolling out in beta to Premium users globally on iOS and Android, with broader availability planned during April.

Crown Paints Kenya PLC has announced a strategic partnership with Mabati Rolling Mills (MRM), a member of the Safal Group, that will offer homeowners a KSh 50,000 Crown Paints voucher when they purchase Lifestile Stone Coated Roofing tiles worth KSh 550,000 and above.

The companies said the offer was announced in Nairobi on March 24, 2026, and is intended to help homeowners move from roofing to finishing stages of construction with fewer cost constraints. Under the arrangement, eligible customers will redeem the vouchers at authorised Crown Paints outlets, with redemption points available at Crown Paints showrooms across Kenya, according to the statement.

The partnership brings together a listed paint manufacturer and a major roofing solutions provider in a construction market that has been sensitive to household budgets, input costs and changing consumer preferences for longer-lasting building materials. For Kenya’s building finishes and roofing segments, such joint promotions are a sign of increased bundling among suppliers seeking to capture a larger share of the end-to-end homebuilding spend.

Kelvin Munyi, Group Marketing Manager at Crown Paints Kenya PLC, said the partnership is aimed at easing the finishing phase for homeowners. “We want to help you turn your house into a beautiful, healthy home. By joining forces with MRM, we’re making it easier for homeowners to choose premium, eco-friendly finishes like our low-VOC Crown Aqua Glow. This KES 50,000 voucher is our way of rewarding your investment, ensuring you don't have to compromise on that perfect, sustainable look for your dream project,” Munyi said.

MRM said the collaboration is also intended to create a more integrated offering between the roof and the finishing system. Geoff Anthony, Head of Sales – Building Solutions & Steel at Mabati Rolling Mills, said: “Our Lifestile stone-coated tiles are engineered for extreme durability and architectural excellence. This partnership with Crown Paints allows us to offer a technically superior building envelope, integrating high-performance roofing with specialized finishing systems. By aligning our premium product lines, we are providing developers with a streamlined, high-specification solution that meets the rigorous demands of modern construction while enhancing the structural integrity of the project.”

According to the press release, the voucher can be used on a range of Crown Paints products, including Crown Aqua Glow, Crown Silk Vinyl, Crown Ultraguard Silicone, and Crown Rain Protek. The company described the products as “low-VOC” and positioned the offer around long-lasting protection and healthier living environments.

Industry observers note that the promotion underscores a broader push by building materials manufacturers to influence homeowner decision-making earlier in the construction cycle, when major spend decisions—roofing, exterior protection and interior finishes—are sequenced. If taken up, such offers can support cross-selling while encouraging customers to standardise on a set of products within a single supplier ecosystem.

The companies said the promotion will run for two months. They did not disclose expected uptake, the total value of vouchers to be issued, or the number of participating retail outlets.