Kenyan musicians Calvo Mistari and Naiboi have released a new single, “The Prize,” alongside an official dance video, in a joint project issued on March 2, 2026. The track is being released under their publishing imprint, Room 308, and is the fourth single from their forthcoming album titled “308,” according to a statement shared by their representatives.

In the press release, the duo positioned the new release as part of a continuing collaboration that has produced earlier songs including “Rudisha,” “All My Dreams” and “Zama.” The artists also referenced their 2021 track “Situation” as an earlier joint release.

The release comes at a time when Kenyan artists are increasingly formalising rights management and distribution through labels and publishing structures, as streaming-led consumption continues to reshape revenue flows in the region’s music industry. While the statement did not disclose commercial terms, it highlights how artist-led imprints are being used to organise releases and support catalogue development in Kenya’s urban music market.

Calvo Mistari said the team sought to balance message and rhythm in the new record. “We wanted to make a song where the message will resonate and the vibe could still be in a groove for such a beat. Dillie and the team did well,” he said.

Naiboi said the release was timed to fit a romantic theme. “Something different for the season of Love. The instrumentalists played with heart on this record. Good music is always from us,” he said.

According to the statement, the official dance video has been released and was conceptualised by Calvo Mistari and directed by Prvk. The choreography was led by Chao of dance group The Lunas, with the visual described as performance-led and movement-driven.

The single was produced by Dillie, with live instrumentation credited to lead guitarist Benjamin Kabaseke and bass guitarist Sedar Malaki. The statement also credits Syd125 and Amileena for background vocals.

Dillie said the team is working toward an album direction that blends local and international influences. “We’re working on an album that’s going to sonically sound Kenyan and global, as that’s the direction Calvo Mistari & Naiboi are taking their sound,” he said.

For Kenya’s creative economy, high-visibility collaborations and video-led releases remain an important lever for attention in a competitive digital market, particularly as artists seek to sustain output between major project cycles. The “308” album rollout—now four singles in—signals a structured release strategy that can support streaming traction and booking demand, although no performance metrics were provided in the statement.

The artists also shared personal context around their current phase, with the statement saying Calvo Mistari is “rebuilding his life and career” after completing his studies, while Naiboi is “rediscovering adulthood.” The duo’s representatives directed media to press images and video assets distributed with the release, and said media inquiries in Kenya can be sent to press@anyiko-pr.com.

Next, attention is expected to shift to additional releases in the lead-up to the full “308” album, as the duo continues to publish through Room 308 and expand the project’s visual and performance components.

Tanzanian independent artist Itaré has released his self-titled debut EP, “Itaré”, a seven-track project that brings together featured acts from Tanzania, South Africa, Nigeria and India, according to a media statement dated 24 November 2025.

The EP includes guest appearances by Kane Keid and Tshego (South Africa), Tanzanian rapper Joh Makini, Remee (India) and WurlD (Nigeria). The project is available on major streaming platforms, the statement said, with a music video also released for the track “Where You Want”.

The release comes as East African music continues to commercialise through streaming distribution, cross-border collaborations and international audience targeting. For Kenyan labels, promoters and digital distributors, Tanzania remains one of the region’s most active markets, with Bongo flava and related hybrid sounds increasingly travelling across borders through platform-driven discovery.

In the statement, the EP is described as blending Afrobeat, R&B and “global contemporary sounds.” It also positions the project as rooted in Tanzanian identity while incorporating international influences through collaborations.

Itaré said the project was shaped by a desire to move beyond conventional expectations. “This project is the embodiment of who I am as an artist. I come from a place where certain expectations shape how music ‘should’ sound, but I chose to break past those limits,” Itaré said. “These songs are my truth — inspired by Africa, shaped by the world. Working with collaborators who share that vision made this journey unforgettable.”

Beyond audio releases, Itaré is also planning a short film linked to the EP. The statement said the film will provide background on the inspiration for the project and the stories behind individual songs, extending the release into a visual format at a time when short-form and long-form video content increasingly supports music discovery and monetisation.

For the Kenyan and wider East African music economy, projects like “Itaré” underline the continuing shift toward collaboration-led audience growth and playlist-focused distribution. Featuring artists from multiple markets can improve reach across territories and reduce dependence on any single national audience, while also increasing opportunities for live bookings, brand partnerships and sync placements tied to a broader footprint.

The involvement of artists from South Africa and Nigeria—two of Africa’s biggest export markets for contemporary music—also reflects the strategic importance of pan-African features for streaming-era visibility, particularly where algorithms reward listening patterns across regions.

In editor’s notes included in the statement, Itaré is described as being from Dar es Salaam, with music influenced by Bongo flava, Afropiano, soul and R&B. The notes also reference earlier releases including “Biggie Money” and “Tough Luv”, and state that established artists have paid attention to his work, including Chino Kidd, Iyanya, WurlD, and Kane Keid.

Next, attention will turn to the release timetable for the short film and whether the EP generates measurable streaming traction that can translate into regional bookings and additional collaborations. Media inquiries for East Africa are being handled through Anyiko PR, according to the statement.

Nigerian artist Mr Eazi has released a new single and music video titled “Dance Pon Me”, according to a press release dated December 15, 2025. The release arrives ahead of a dancehall-inspired mixtape that Mr Eazi plans to put out on Mixpak, the statement said.

The track follows “Sekkle & Bop”, Mr Eazi’s 2021 collaboration featuring Popcaan, and is positioned by his team as the latest preview of the upcoming project. The press release states that “Dance Pon Me” is available for streaming on digital platforms alongside an official video.

The release adds to a growing pipeline of Africa-origin music content timed to year-end entertainment demand, commonly referred to in West and East Africa as “Detty December”. For Kenya’s music and nightlife economy—covering clubs, live events, DJs, brand activations and streaming consumption—high-rotation singles in December typically influence bookings and playlists across Nairobi’s entertainment circuit, while also shaping cross-border collaborations and touring patterns.

According to the statement, “Dance Pon Me” was produced by Dre Skull and Cadenza. The release notes that Dre Skull has worked with Popcaan, Burna Boy and Vybz Kartel, while Cadenza has credits with Jorja Smith, Beyoncé and Doja Cat.

Songwriting credits listed in the press release include Oliver Rodigan, Andrew Hershey, Marlon Roudette and Oluwatosin Oluwole Ajibade.

The press release also frames the track as reflecting a wider Afro-diaspora sound and audience, explicitly referencing cities including Lagos, Accra, Nairobi and London as part of its intended cultural reach.

Mr Eazi is described in the statement as a Grammy Award–winning artist. The release cites his past catalogue—including tracks such as “Skin Tight” and “Leg Over”—and notes that he has performed at Coachella. It also references his involvement in nightlife concepts, including Choplife Soundsystem and Detty Rave.

In 2025, Mr Eazi released an EP titled “MAISON ROUGE”, which the statement describes as a return to his Banku Music roots.

While the press release does not disclose commercial terms, distribution partners, streaming figures or projected release dates for the Mixpak project, the announcement underscores the continuing competition for audience attention during the December peak season, when music releases often translate into demand for club play, event programming and short-form video content.

For Kenya’s market, such releases can have spillover effects across DJ setlists, streaming playlists and event line-ups, particularly as Nairobi remains a regular stop for regional touring and brand-sponsored nightlife events. The explicit mention of Nairobi in the press statement indicates continued interest in East African listenership as part of wider pan-African and diaspora consumption patterns.

Anyiko PR said media inquiries for East Africa should be directed to press@anyiko-pr.com. Mr Eazi’s team indicated that the single and official video are now available on streaming platforms, with the broader mixtape planned for release on Mixpak.

Rwandan singer Bruce Melodie has released a new single, POM POM, featuring Tanzanian artist Diamond Platnumz and Nigerian artist Joel Brown, according to a press release issued on January 8, 2026. The release, distributed by 1:55 AM Entertainment, is accompanied by an official music video filmed in Kigali, Rwanda, and Dar es Salaam, Tanzania.

The three-artist collaboration brings together Afro-pop, Bongo Flava and Afrobeats influences, with lyrics delivered in Kinyarwanda, Swahili and English, the statement said. The track was produced by Ghanaian producer C-Tea Beat.

The release is part of a growing pattern of cross-border collaborations within Africa’s commercial music industry, where streaming distribution and regional fanbases increasingly shape how artists and labels plan releases. For Kenya, where music consumption is increasingly driven by digital platforms and live performance circuits linked to East African tour routes, multi-country projects such as POM POM can influence playlist visibility, licensing demand and event bookings across the region.

Bruce Melodie said the collaboration was intended to highlight cultural and geographic diversity through a shared sound. “This collaboration celebrates Africa in all its colors — three voices, three countries, one anthem. ‘POM POM’ is more than a song; it’s a movement, a reminder that music connects us no matter where we come from,” Bruce Melodie said in the press release.

The music video was directed by Rwanda’s Fayzo Pro for the Kigali scenes and Uganda’s Sasha Vybz for the Dar es Salaam scenes, the statement said. It described the visual approach as combining Rwandan heritage motifs with Tanzanian urban landscapes.

According to the release, POM POM marks the first collaboration between Bruce Melodie, Diamond Platnumz and Joel Brown. The statement attributed the partnership to “mutual respect and admiration” among the artists and said C-Tea Beat was responsible for aligning the artists’ styles in the final production.

For Kenyan music and entertainment businesses—ranging from promoters and venues to digital marketers and licensing agencies—the continued consolidation of regional star power into single releases can intensify competition for audience attention while also creating more opportunities for multi-market activations. Cross-border tracks often enable organisers to structure joint appearances and sponsorship packages across Nairobi, Kampala, Kigali and Dar es Salaam, particularly when releases are supported by music videos and coordinated online campaigns.

Industry stakeholders will also watch how such releases perform on streaming services and social platforms, as metrics increasingly determine booking leverage and brand partnerships in East Africa’s entertainment economy. The press release said the single is available on major streaming platforms and that media inquiries for Africa can be directed to Anyiko PR.

Next steps are expected to include broader promotional activities tied to the single, including potential media appearances and live performance opportunities across the region, as the artists and their representatives seek to extend the release’s reach beyond its launch window.