Kenyan artists Calvo Mistari and Naiboi on September 2, 2026 released two singles—“Nataka Nikujue” featuring Nessa DeDiva and “Give Me Your Love” featuring Nessa DeDiva and Sydney 125—under their publishing imprint Room 308, as they build momentum toward a forthcoming joint album titled 308.

In a media statement dated September 2, 2026, the duo said producer Jegede handled production for both songs, with Musyoka credited for mixing and mastering. The release package also includes official video links for both tracks, according to the statement.

The move adds to a growing trend of Kenyan musicians building in-house publishing and release structures to manage rights and distribution as streaming becomes central to music consumption. While the statement did not disclose the commercial terms of Room 308 or distribution arrangements, it frames the imprint as the vehicle through which the duo will roll out additional material from the album.

Calvo Mistari and Naiboi positioned the two singles thematically around dating and new connections. “Nataka Nikujue” focuses on “the excitement of meeting someone new and making a connection,” while “Give Me Your Love” “explores love, attraction and the confidence to put yourself out there,” the statement said.

Speaking on the release, the duo said the tracks are intended to reflect the early stages of romantic connection. ““Nataka Nikujue” and “Give Me Your Love” captures the spark of meeting someone new and wanting to truly connect. It’s about bringing back the essence of dating: real connection, attraction and the courage to make the first move. Both songs have a vibe you can dance to and enjoy,” Calvo Mistari and Naiboi said in the statement.

The statement also detailed how Nessa DeDiva came to feature on both songs. “Nessa DeDiva came in the studio to initially work on ‘Give Me Your Love’ but after hearing ‘Nataka Nikujue’ track she felt her vocals would be a great fit for the track. She joined the session and added her touch to the song,” the statement said, describing the collaboration as a spontaneous studio decision.

The duo has been releasing singles together in recent years, citing earlier songs including “Rudisha”, “All My Dreams”, “Zama”, “The Prize” and “Baddest” as part of the run-up to the album. They first teamed up on the 2021 track “Situation,” according to the statement.

For Kenya’s music business, the release under a dedicated publishing imprint highlights how established acts are increasingly packaging music projects with clearer ownership structures—an approach that can influence royalty collection, licensing opportunities and cross-border monetisation, especially as artists seek audiences beyond the domestic market. Calvo Mistari and Naiboi said they are splitting time between Kenya and the US while exploring “new ventures and opportunities,” though they did not provide specifics.

Next steps are expected to include additional singles and collaborations ahead of the full album release. The statement said the project will include more collaborations as the duo prepares to “unveil more music” from 308.

Spotify has named Grammy-nominated jazz vocalist, songwriter and playwright Somi as its EQUAL Africa Artist for August, the audio streaming company said in a press release dated August 10, 2026 in Nairobi.

The company said the selection coincides with the release of Somi’s 13-track album, What Does It Take to Bloom?, which it said was released on August 7 on Salon Africana. Spotify said the project was co-produced by Somi and Benjamin James of Nigerian Highlife duo The Cavemen, and includes guest appearances by The Cavemen and jazz saxophonist Lakecia Benjamin. According to the statement, the album was recorded across Dakar, Lagos, Paris and New York City, and is led by the single We’re All Falling.

The announcement adds to Spotify’s EQUAL Africa programme, which the company said is designed to spotlight women artists on the continent and connect them with broader audiences. For Kenya’s music and creative economy, Spotify’s editorial programmes are among the distribution channels that can influence discovery and streaming-driven revenues, particularly as more local listeners adopt subscription and ad-supported streaming as their primary listening mode.

Spotify said Somi, who was born in Illinois to parents from Rwanda and Uganda, is “the first African woman ever nominated in a Grammy jazz category,” citing her nomination for Best Jazz Vocal Album for her live album Holy Room.

Phiona Okumu, Spotify’s Head of Music for Sub-Saharan Africa, said the company viewed Somi’s selection as aligned with the EQUAL initiative. “Somi's artistry is a powerful testament to the rich, transcendent legacy of African jazz and storytelling,” Okumu said. “As a barrier-breaking artist who continues to carve out space for African women on international stages, she perfectly embodies the spirit of the EQUAL programme.”

Somi said the programme’s focus on women in the industry reflected structural barriers she has experienced. “To make music as a woman to lead bands, build a label, and hold onto your own voice, is to work in rooms that weren't designed for you. That work is often invisible and rarely without cost,” she said. “EQUAL matters to me because it insists that women's voices don't just belong here; they shape what this industry becomes.”

In an accompanying Q&A included in the press release, Somi said she is also a playwright and actor who has worked on Broadway. She described her sound as “story-based songs framed by modern jazz, pan-African grooves and soulful intimacy.”

The statement also included Spotify’s latest global user metrics, which provide context for the scale at which playlisting and programme-based promotion can impact listening behaviour. Spotify said it has 751 million monthly active users and 290 million premium subscribers across 184 markets, and that its catalogue includes more than 100 million tracks and more than 7 million podcast titles.

For East African artists and labels, industry observers note that platform-led initiatives such as EQUAL can contribute to cross-border discovery, particularly when paired with touring, radio syndication and social media distribution. However, sustained commercial impact typically depends on consistent releases, rights management and audience development beyond a single campaign window.

Spotify did not disclose the commercial terms of Somi’s inclusion in EQUAL Africa or provide market-specific streaming data for Kenya or the wider region in the statement. The company said Somi would be featured as its EQUAL Africa Artist for August.

Spotify has concluded its 12-day Greasy Tunes Nairobi programme, held from 15 to 26 July at Heltz House in Nairobi, after two weeks of events spanning food, fashion, podcasts, workshops, live performances and a closing party. The audio streaming company said the activation was designed as a physical gathering space for young listeners, artists and creative communities, using its own listening data to shape the schedule.

In a media statement dated 28 July 2026, Spotify said its internal June 2026 listening data for Nairobi showed users aged 18 to 24 accounted for 53.7% of music streams, which it described as the highest Gen Z share among Nairobi, Lagos and Johannesburg. The company added that listening in Nairobi peaked at 18:00 and that its “evening and unwind” window represented 30.5% of daily listening among its 18–24 audience. Spotify also reported that “dinner-adjacent hours” from 18:00 to 21:00 made up 20.9% of daily music listening for the same age group, generating 25.3 million streams, according to the statement.

The programme’s first week was themed “Starters” and, according to Spotify, aimed to illustrate how music intersects with broader urban culture in Nairobi, including food, fashion, podcasts, faith and sport. Activities included a Greasy Tunes Café and Hotspot set-up intended as a daytime hub, a “Kitchen Opening Party with The BAG,” and “Karibu Night,” hosted by Studio 18, which Spotify linked to its “Made In Kenya” playlist.

Spotify said “Karibu Night” combined music and fashion, with Studio 18 designing a Greasy Tunes jersey and scarf and designers from its community styling the items. The company also said artists associated with the “Made In Kenya” playlist were present, including Buruklyn Boyz. Spotify added that during the programme it changed the “Made In Kenya” playlist cover daily to reflect artists connected to each day’s events, featuring Buruklyn Boyz on day two and Coster Ojwang on day three, according to the statement.

Podcast-led sessions also featured in week one, including a Culture Club recording with Eric Musyoka and The 30% Podcast. Spotify said its Kenya-wide podcast data for 18–24 listeners showed Arts, Society & Culture and Comedy among leading categories, which it framed as consistent with the event’s emphasis on conversation-driven formats.

“Greasy Tunes brings the energy people experience on Spotify into a shared physical space. The programme reflects how music already connects Nairobi’s young listeners, whether through food, conversation, creativity or community,” said Agnes Opondo, Artists & Labels Partnerships Lead, Spotify East Africa, in the statement.

The second week, themed “The Mains” and running from 20 to 26 July, expanded into poetry, workshops, comedy and fan-focused events, according to Spotify. The company listed sessions including “Gufy’s Room: Poetry, Music & Storytelling,” a “Blueprint Workshop with Kasi Flavour,” a Studio 18 pop-up, a premium fan event with Nyashinski, an EQUAL workshop and showcase with Ongeza Volume, The Standup Collective, Fresh Finds/Nakili Sessions, a MIC Chequ podcast recording, “Brunch with Citizen Digital,” and a “Strictly Soul Closing Party.”

For Kenya’s music and creator economy, the programme signals intensifying competition among global platforms to deepen local cultural relevance beyond digital distribution. Offline activations that link streaming behaviour to live, community-led programming can strengthen artist discovery pipelines, expand partnerships with local media and creative collectives, and support monetisation opportunities around events, merchandise and brand collaborations, even as the underlying market remains sensitive to disposable incomes and data costs.

Spotify said the programme’s continuation would be reflected through its “Made in Kenya” editorial playlist, which it described as focused on Kenyan music. The company did not disclose attendance figures, budgets or commercial partnerships for the Nairobi activation in the statement.

Kenyan artists Calvo Mistari and Naiboi have released a new single titled “Baddest” on June 17, 2026, positioning it as the fifth release from their forthcoming joint album “308”, according to a press release issued the same day. The track is being released under their publishing imprint, Room 308.

In the statement, the duo said “Baddest” follows earlier singles from the project—“Rudisha”, “All My Dreams”, “Zama” and “The Prize”—as they build toward the full album rollout. The release adds to a growing trend in Kenya’s music economy where artists are increasingly organising distribution and rights management through their own imprints, a move that can strengthen control over publishing revenues in a streaming-led market.

According to the press release, “Baddest” was produced by Dillie, with assistance from Musyoka, who mixed and mastered the track. The song includes live guitar arrangements by Benjamin Kabaseke and bass guitar contributions from Sedar Malaki, with additional background vocals from Amileena.

Calvo Mistari and Naiboi framed the single as an upbeat afro-pop record centred on a confident female character. “Baddest is all about good vibes. It's about that person who walks into a room and immediately captures everyone's attention,” the duo said in a joint quote. “We wanted the song to feel fun, uplifting and make people want to dance. More than anything, we want listeners to enjoy the energy and feel-good spirit behind it.”

The artists also disclosed details of the writing process, describing how the track emerged in an informal setting while they were at home. “We were actually cooking dinner when the song happened,” Calvo Mistari said. “Naiboi had the beat playing on loop and we just started feeding off each other's energy. We laid the intro, then my verse and from there the song began taking shape.”

While the announcement focuses on creative elements, the business subtext is the continued formalisation of independent music operations. The press release describes Room 308 as a collaborative venture backing the duo’s output as they prepare to release more music from the “308” album. For Kenyan artists, such structures can support monetisation through publishing, neighbouring rights and licensing—revenue lines that are becoming more important as digital consumption expands across East Africa.

The duo’s cross-border presence is also part of the strategy. The statement noted that Calvo Mistari and Naiboi have been “living between Kenya and the US”, as they pursue new ventures and opportunities. That positioning may broaden market access for collaborations, touring, and diaspora-facing distribution, while still anchoring their brand in Kenya’s urban music scene.

Calvo Mistari and Naiboi first collaborated on the 2021 song “Situation”, according to the press release. Their latest single adds to a pipeline of releases intended to precede the full “308” album, with the pair signalling that additional music and collaborations linked to the project are expected ahead of the album’s unveiling.

Spotify has launched “Spotify 20: Your Party of the Year(s),” a mobile-only in-app experience that gives eligible users in Kenya and Nigeria a personalised look back at their listening history on the streaming platform, the company said on May 14 in a statement issued in Nairobi.

The new feature is part of Spotify’s broader 20th anniversary campaign and is designed to surface individual listening milestones, including a user’s first day on Spotify, first streamed song, total number of unique songs listened to, and all-time most-streamed artist. It also generates an “All-Time Top Songs” playlist containing a user’s top 120 tracks alongside play counts, according to Spotify.

The rollout adds another data-driven product layer aimed at increasing time spent in the app and social sharing—an increasingly important lever for subscriber retention and ad-supported listening growth in Kenya’s competitive digital entertainment market.

Spotify said each data story in the experience ends with a share card, enabling users to save results and share them with friends or across social platforms. Users can access the feature by searching for “Spotify 20” or “Party of the Year(s)” within the Spotify mobile app or via spotify.com/20 on mobile, the company said.

“Spotify has always been about making listening personal. With Spotify 20, we’re giving fans in Nigeria and Kenya a chance to look back at the artists, songs and moments that have shaped their journey with us. It’s a celebration of discovery, nostalgia and the communities that form around music,” said Jocelyne Muhutu-Remy, Managing Director for Spotify in Africa, in the statement.

Context in Kenya’s streaming market

Kenya’s music and audio streaming market has grown alongside wider smartphone adoption, falling data costs relative to past years, and the rise of digital-first music distribution. Global platforms such as Spotify have sought to strengthen local relevance through curated playlists, African content licensing, and product features that encourage discovery and sharing.

While Spotify did not disclose Kenya-specific user numbers for the new feature, it positioned the rollout for Kenya and Nigeria as a way for listeners to revisit songs tied to “everyday moments, major milestones and cultural shifts,” according to the statement.

Global benchmarks and content economics

As part of the same anniversary campaign, Spotify also published global “all-time most-streamed” rankings. The top three most-streamed artists globally are Taylor Swift, Bad Bunny and Drake, Spotify said. Bad Bunny’s Un Verano Sin Ti is the most-streamed album of all time on the platform, while The Weeknd’s “Blinding Lights” is the most-streamed song, followed by Ed Sheeran’s “Shape of You,” according to Spotify.

Spotify added that The Joe Rogan Experience is the most-streamed podcast globally, while Sarah J. Maas’s A Court of Thorns and Roses is the most-streamed audiobook among Premium subscribers.

For Kenyan labels, artists and music marketers, such platform-wide rankings and anniversary campaigns typically influence listening behaviour through renewed playlisting and editorial surfacing, which can affect streaming volumes and royalty flows. However, the company did not provide payout figures or local revenue impacts in the statement.

Industry implications for Kenya

The “Spotify 20” feature underscores how streaming platforms are increasingly using personal analytics and shareable formats to drive organic growth. In Kenya, where competition for digital attention spans across music, short-form video and live social platforms, Spotify’s emphasis on personalised milestones may help keep users within its ecosystem and encourage peer-to-peer acquisition through sharing.

Spotify also said its editorial team has curated global playlists highlighting defining eras and cultural shifts over the past two decades, available within a Spotify 20 hub—an approach that can steer consumption patterns and affect which catalogues and genres gain momentum in the short term.

What comes next

Spotify did not outline expansion plans for “Spotify 20” beyond eligible users in Kenya and Nigeria. The company’s next milestones will likely track how widely the feature is adopted, how frequently users share the generated cards, and whether the experience translates into higher engagement for both ad-supported and paid tiers in Kenya’s streaming economy.

Spotify has published a recap of its “Feature Mixer” event held in Nairobi, where the audio streaming company showcased a set of in-app features to creators, cultural tastemakers and media personalities as part of an education-focused product engagement.

According to the statement distributed on behalf of Spotify by communications firm Irvine Partners, the Nairobi session used a “speed-dating” format in which guests rotated through six short demonstrations designed to explain what each feature does, why it matters and how to use it in the app.

The company said the event included demos of tools such as Jam, Personalization features and an “Offline Bundle” that it described as designed to address local data and network challenges. The evening also included live performances by Kenyan acts Vijana Barubaru and Zaituni, Spotify said.

The recap comes as global streaming platforms continue to compete for listener attention in Kenya’s fast-growing digital entertainment market, where mobile data costs and network reliability can shape product adoption and usage patterns. Feature sets that reduce data consumption and allow offline listening have become a key consideration for users and a potential lever for subscriber growth.

In the Nairobi session, “the evening’s core mechanic saw guests moved through six ‘feature dates’ in quick rotations,” Spotify said in the release. Each station was led by a “Feature Avatar” who ran a three-minute segment featuring a live demo and a teach-back moment, where guests explained the feature in their own words “to ensure a deep understanding of the product,” the company added.

Spotify outlined several features highlighted during the event, including Jam, which it said focused on shared queue control for group listening, and a DJ Bundle, which the company said explored how listeners can shape music journeys “in real time.” It also cited a Personalisation Bundle featuring daylist and Daily Mixes, Mixed Playlists that enable track transitions, and Collaborative Playlists aimed at shared curation.

Spotify said the “Offline Bundle addressed challenges like low-data usage and fluctuating network coverage,” positioning it as relevant to day-to-day connectivity constraints in the market.

The company also described a “match reveal” component, in which attendees received “personalised Top Feature Matches delivered via printed guide cards.” Spotify said the one-page guides were intended as take-home explainers to help participants replicate the steps and share “how-to” content with their audiences.

While Spotify did not disclose attendance figures, partnership announcements or investment details tied to the event, the Nairobi activation underscores how global consumer tech companies are increasingly using local creator ecosystems to drive product understanding and adoption. For Kenya’s digital media economy, such sessions can translate into more feature-led content creation, potentially influencing user discovery, playlisting behaviour and time spent on platforms.

Spotify said the event concluded with a DJ set blending Amapiano, Afrobeats and Gengetone, followed by “a surprise live performance from Vijana Barubaru and Zaituni.”

In the release, Spotify also shared global user figures, stating it has “713 million users, including 281 million Spotify Premium subscribers, in over 180 markets.” In a separate “Spotify in numbers” line, it cited “751 million monthly active users / 290 million subscription users” and availability in “over 184 markets,” without explaining the difference between the two sets of figures.

Spotify has not announced whether the Feature Mixer format will be repeated in other Kenyan cities or expanded across East Africa, but the company’s focus on offline and personalisation tools suggests continued emphasis on product localisation for markets where connectivity and affordability remain central to streaming usage.

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.