Red Bull has crowned dancer Zack The Great as the 2026 Red Bull Dance Your Style Kenya national champion after the competition’s national finals held on May 24, 2026 at the Tsavo Ballroom, Kenyatta International Convention Centre (KICC) in Nairobi, the company said in a press release dated May 25.

According to the statement, the national finals brought together 16 Kenyan street dancers in head-to-head battles, with Zack The Great winning the title after a final against first runner-up King of Smiles. The winner will represent Kenya at the Red Bull Dance Your Style World Finals in Zurich, Switzerland on October 24, 2026, where Kenya will be among 51 participating countries, Red Bull said.

The event adds to Nairobi’s growing pipeline of large-format youth and creative economy events hosted at major venues such as KICC, as brands continue to invest in live experiences tied to music, sport and cultural participation. For Kenya’s creative industry—spanning dancers, choreographers, event production crews and content creators—such competitions can create income opportunities through performances, workshops, sponsorships and digital distribution.

Zack The Great, quoted in the press release, said the title carried personal and community significance. “Being crowned the Red Bull Dance Your Style 2026 champion is something truly special. I am grateful for the support, the love from the community and the opportunity to represent something bigger than myself,” he said. He added: “Kenya is full of energy, culture and incredibly talented dancers, so being recognized among such amazing talent means a lot to me.”

He also pointed to the challenge of competing abroad. “I think the biggest challenge will be adapting to a completely new environment and atmosphere. It will be my first time competing on such a major international stage,” Zack said, adding that adjusting to the crowd and overall experience in Zurich would take time.

Red Bull said the Kenyan champion will receive an all-expenses-paid trip to Switzerland (value not disclosed). The company did not provide cost details or local economic impact estimates for the Nairobi event.

In addition to the competition battles, Red Bull said the Nairobi finals featured appearances by international dancers, including MT Pop (named as the 2024 Red Bull Dance Your Style World Champion), Luwam (identified as a finalist at the 2024 world finals), Luciano (identified as the 2025 Netherlands champion and global finalist), and Verb (identified as a two-time South Africa champion in 2022 and 2023, and a 2023 global finalist). The press release added that the visiting dancers conducted workshops for members of Kenya’s dance community while in Nairobi.

The 2026 edition was the sixth Kenyan edition of the global competition and launched in March, with qualifying rounds held in Mombasa and Nairobi before the KICC finale, according to Red Bull. The format is audience-judged: spectators vote for winners after each battle using red and blue LED wristbands, the company said. Red Bull also said all urban dance styles are accepted except break dancing, which is not included in the competition’s rules.

Looking ahead, attention will shift to preparations for the Zurich world finals in October, where Zack The Great will compete against national champions from other markets. Red Bull has not announced any further Kenya dates beyond the completed 2026 season, but the company’s statement positions the event as an ongoing annual platform within its local calendar.

Book Bunk and Hay Festival Global have concluded the 2026 edition of Nairobi Litfest, held in Nairobi from May 8 to May 10 across McMillan Memorial Library, Kaloleni Library and Eastlands Library, according to a statement dated May 25, 2026. The organisers said the festival’s fifth edition brought together writers, artists, educators and audiences for more than 25 sessions over three days.

The event took place inside public libraries that Book Bunk has been restoring through a partnership with Nairobi City County, positioning the festival within a broader push to revive public cultural infrastructure. In its programme summary, the organisers cited masterclasses, panel discussions, performances and a children’s festival among the key formats used to engage audiences.

Organisers said highlights included a screening of the documentary How to Build a Library, which they said follows Book Bunk’s work in restoring public libraries, and a live performance by Kenyan artist Mutoriah on the second day of the festival.

The festival’s 2026 theme focused on “speculative cartography and South-to-South connections,” which the organisers said was intended to encourage audiences to rethink boundaries, imagine alternative futures and engage across disciplines and geographies.

Wanjiru Koinange, Book Bunk Co-Founder and Nairobi Litfest Co-Director, said the festival depends on collaborative effort and sustained participation. “Nairobi Litfest is a festival built by many hands and sustained by a shared belief in the power of sharing ideas. Each successful edition is a result of our guests, audiences and partners showing up for each other, for their communities and for storytelling,” Koinange said.

The organisers said Book Bunk and Hay Festival Global have partnered since 2024 to co-present Nairobi Litfest. Over the past three editions, the partners said they have hosted more than 120 writers and artists across 75 events, reaching an audience of more than 3,000 in person and online.

Julie Finch, CEO of Hay Festival Global, said the organisation intends to continue the partnership. “We are delighted with the success of Nairobi Litfest 2026 and proud to continue our partnership with Book Bunk. Together, we are creating meaningful spaces for dialogue, imagination and exchange for audiences in Nairobi and around the world,” Finch said.

Angela Wachuka, Book Bunk Co-Founder and Nairobi Litfest Co-Director, said the festival’s positioning in public libraries remains central to its identity. “Five editions in, Nairobi Litfest continues to be a place where urgent conversations about literature, art and ideas find a home inside public libraries that belong to everyone,” Wachuka said.

In its programme recap, the organisers said the 2026 edition included masterclasses in fiction writing, autobiography, poetry, curatorial practice and indie publishing led by Lina Meruane, Dr. Nick Makoha, Ellah Wakatama OBE, Ciku Kimeria, Richard Oduor Oduku and Dr. Portia Malatjie. They also cited children’s sessions featuring storytelling, music and movement, chess, puppetry and painting with Muthoni Maina, Orpah Agunda, Tunde Onakoya, Michael Mutahi and Prisca Ojwang.

The organisers said panel discussions addressed imagination, identity and social change, featuring speakers including Alain Mabanckou, Yvonne Owuor, Natasha Brown, Lesley Nneka Arimah, Safiya Sinclair, Inua Ellams and Nanjala Nyabola, alongside film and curatorial conversations with Moussa Sene Absa, Maia Lekow, Chris King, Dr. Portia Malatjie and Lola Shoneyin.

Cristina Fuentes La Roche, International Director at Hay Festival Global, said the partners view the festival as a platform connecting local and international voices. “Nairobi Litfest continues to celebrate the best of local and global literature, bringing together artists, writers and audiences in meaningful exchange,” Fuentes La Roche said.

For Kenya’s cultural and creative economy, the festival’s continued use of public libraries as venues underscores a growing business and policy conversation about investing in community-based cultural infrastructure, programming and skills development. Book Bunk’s model links restoration to programming and digitisation, which can expand access to content and create new opportunities for creators, educators and cultural organisations.

In “notes to editors,” the organisers said the 2026 collaboration between Hay Festival Global and Book Bunk was supported by the British Council as part of the UK/Kenya Season 2025, with additional main support from Open Society Foundations and Hawthornden Foundation. They also cited programming partnerships with Amnesty International Kenya, The Caine Prize for African Writing, Acción Cultural Española (AC/E), the Ramón Llull Institut and Indus Conclave.

Looking ahead, the partners indicated the collaboration will continue, building on the past three editions’ scale and international mix of participants. The organisers did not announce dates for the next edition in the statement.

Safaricom, through its foundations, has launched “Capture the Good”, a national photography and videography challenge that will invite creators to document community projects in education, health, economic empowerment and environmental conservation, the company said on May 12, 2026 in Nairobi.

According to the press release, entries are open at https://capturethegood.safaricom.co.ke/ until May 30, 2026. Participants will select from 250 projects, visit project sites and produce visual stories showing the projects’ impact. The initiative is being run in partnership with the Photographers Association of Kenya (PAK) and the Photojournalists Association of Kenya (PJAK), with Vivo named as the mobile photography partner.

The programme outlines a multi-stage judging process. Safaricom said submitted work will be reviewed by a judging panel, which will select 90 regional winners for a masterclass. After refinement and resubmission, a second judging round will produce 18 national winners whose work will appear on the Capture the Good website.

Safaricom Group Chief Executive Officer Peter Ndegwa said the company was seeking to use creators’ perspectives to document community change. “We live in a visual world, often enhanced by a photo or a video, building believability, relatability and connections, while allowing the rest of society to live through these stories. These platforms enable us to share stories of transformation, while humanizing the spaces where we serve our communities. We rea now looking to see these stories of impact through their lens,” Ndegwa said.

Safaricom said the challenge will also include public voting. It stated that three winners in each category will be awarded photographer and videographer of the year prizes, with cash awards of KES 1 million for first place, KES 750,000 for second place and KES 500,000 for third place. The press release added that total rewards will amount to KES 20.4 million, including cash prizes, airtime, vouchers and merchandise, alongside data offers intended to support submissions.

The competition is scheduled to run until August 14, 2026, when Safaricom said it plans to crown winners and stage an exhibition of selected works.

The launch also included an education infrastructure announcement. Safaricom said the M-PESA Foundation broke ground for an ICT laboratory at Kisumu Boys’ High School valued at KES 12.5 million, which it said would support learning and innovation for more than 1,800 learners.

For Kenya’s creative economy, the challenge is likely to intensify competition around documentary-style content tied to development programmes and corporate social investment, while strengthening links between creators and institutional funders. The involvement of PAK and PJAK also suggests an emphasis on technical standards and journalistic approaches as creators seek to translate field visits into publishable photo and video narratives.

Next milestones include the May 30, 2026 submission deadline, the regional shortlisting and masterclasses, followed by final judging and public voting ahead of the planned August 14, 2026 awards and exhibition, according to Safaricom.

MTV Staying Alive Foundation has rebranded to Shuga Global, marking the end of a partnership with Paramount that concluded at the end of March 2026, the organisation said in a media statement dated 17 April 2026. The rebrand was announced at a launch event held on 16 April 2026 at KOFISI Square in Nairobi, attended by development partners, cast and crew, media and members of Kenya’s creative community.

According to the statement, the rebrand is intended to expand the organisation’s reach, partnerships and the range of stories it produces under the Shuga franchise, which has been active in Kenya since 2009. The organisation said the transition followed a “mutual” process tied to a shared vision for its future after the Paramount partnership ended.

Shuga Global’s first release under the new identity is the Mashariki Offscript Podcast, a 10-episode series hosted by Shuga Mashariki cast member Makena Kahuha alongside media personality Muchina Maloba. The podcast launched on 17 April and is available on Spotify, YouTube via Shuga Global and other digital platforms, the organisation said.

“Rebranding as Shuga Global signals an exciting new era for our organization as we continue to evolve,” said Wame Jallow, Executive Director of Shuga Global, in the statement. Jallow added that the organisation would “continue to innovate” and work with new partners, while acknowledging Paramount, MTV and other stakeholders who have supported its work.

Mitchelle Kimathi, Country Manager, Kenya, Shuga Global, said the podcast was designed to capture youth conversations in spaces where young people live and study. “Offscript Podcast came from a simple belief, that the conversations young Kenyans are already having deserve to be heard,” Kimathi said, adding that the recordings were based on on-campus engagement and listening sessions.

The organisation said the podcast was recorded over a month across three universities: the University of Nairobi, Egerton University in Njoro (Nakuru) and Jaramogi Oginga Odinga University of Science and Technology in Siaya. Episodes are expected to drop weekly and will be accompanied by regional and national radio distribution “to reach more young people across Kenya,” according to the statement.

For Kenya’s media and creative economy, the shift signals an effort to deepen multi-platform distribution beyond television into audio and radio formats—channels that remain significant for mass reach and local-language consumption. The move also reflects growing competition for youth audiences across streaming, social media and on-demand formats, particularly for content that blends entertainment with social messaging.

Shuga Global cited viewership metrics for its Kenyan TV franchise as an indicator of audience demand. It said MTV Shuga Mashariki accumulated about 5.3 million views in its first season, while Season 2—premiered on Citizen TV in February 2026—had surpassed 8.3 million YouTube views at the time of the release. The organisation also referenced the Sema Na Me support chatbot collaboration in Season 1 as an example of extending storytelling into direct youth support, linking discussions to issues such as mental health, gender-based and intimate partner violence, livelihoods and relationships.

Looking ahead, Shuga Global said it is developing Shuga Mashariki Shorts, an anthology film series expected for release in June 2026, with further details to be announced. The organisation said the broader Shuga franchise broadcasts across 40 African countries, positioning the new identity to continue regional distribution while expanding partnerships and formats.

Blankets & Wine has announced its first 2026 edition will be held on Sunday, 7 June 2026 at Laureate Gardens, Moi International Sports Centre, Nairobi, unveiling a lineup led by Kenyan acts Labdi, Mordecai (Dexx), Mejja, Serro, Mutoriah and Watendawili, alongside Nigerian singer Fave.

In a press release dated 16 April 2026, the festival said the June event will be followed by two further editions on 6 September and 20 December 2026 as it begins its 2026 season.

The announcement also introduced “Your Taste Lives Here” as the festival’s 2026 campaign and “year-long cultural platform,” which organisers said will run across the three editions. According to the statement, the platform was launched on 14 April 2026 in Nairobi at Hit Labzz during the festival’s inaugural Storytellers Lab, which brought together media and the festival’s creative teams.

The June programme includes the festival’s electronic and alternative music offering on the Onja Onja Stage, with South Africa’s Goldmax scheduled to perform alongside Kenyan DJs Hiribae, DJ IV, LA Dave, Suraj and Sir M, the organisers said.

Blankets & Wine is produced by GoodTimes Africa and was founded in Nairobi in 2008 by Muthoni Ndonga. The organisers said the event is now in its 17th year. In Kenya’s events and creative economy, the festival’s continued run is closely watched by promoters, venues and brand sponsors as a barometer of consumer spending on live entertainment and the ability of large outdoor events to pull audiences across multiple dates in a year.

Muthoni Ndonga, Founder & Creative Director, said the event’s planning extends beyond music programming. “Every edition of Blankets & Wine begins with a question: what does it mean to gather well in this moment? 17 years of asking that question has taught us that the answer is never just about the lineup. It’s about the entire ecosystem — the music, the food, the energy, the people who show up and what they bring with them,” she said.

The festival also confirmed the return of the Onja Onja Market in 2026, describing it as a curated hub for “Made-in-Kenya” products spanning food, fashion and creative enterprise.

Michelle Njeri, Brand Manager, linked the market concept to the new platform. “The Onja Onja Market is where ‘Your Taste Lives Here’ becomes something you can touch, taste and take home. Every vendor is curated with the same intentionality as the lineup — these are the brands and makers who represent where Kenyan creativity is right now,” she said.

Ndonga added that the Onja Onja Stage is being positioned more distinctly within the festival’s offering. “Onja Onja has always been the home of the vibes at the festival. This evolution is about going deeper, giving the stage its own identity and the freedom to push the sound forward,” she said.

For Kenya’s wider entertainment and hospitality ecosystem, the three-date calendar has implications for suppliers and service providers tied to live events, including staging and production, security, ticketing, food and beverage vendors, and transport. The addition of a flexible ticket plan—described by the festival as “Lipa Pole Pole,” allowing payments in instalments—also reflects an approach increasingly used by event organisers to manage affordability constraints while maintaining attendance targets, though the organisers did not disclose ticket prices or uptake figures.

Blankets & Wine said tickets for the June 2026 edition are on sale via its website. The organisers did not provide financial projections, expected attendance, or sponsorship details in the statement, but said the 2026 platform will roll out across the June, September and December editions.

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.

South African pop group DEY SAY has announced a Kenya tour slated for March 7–14, 2026, with Nairobi set to be the first stop on what it described as an international tour across multiple African markets. The group is also pushing its single “Calling For You (Ringback)”, which it said has gained traction on TikTok, and will hold a meet-and-greet performance event at Ball Point, Village Market in Nairobi on March 14, 2026 at 6pm, according to a press release dated February 18, 2026.

The tour, dubbed KTOF (Kids Take Over the Future), positions Kenya as the entry point into East Africa for the Johannesburg-based act. DEY SAY’s members are Chadwell Johnson, Leandre Johnson, Elim Solomons and Joaquin Jardine, aged between 16 and 20, the statement said.

The announcement adds to a growing pipeline of regional music and entertainment acts using Nairobi as a launchpad for East African expansion—reflecting the city’s role as a hub for youth culture, brand partnerships, live events, and digital distribution. Kenya’s creative economy has been drawing increased interest from regional labels, promoters and content-led businesses seeking audiences that are active on social platforms and receptive to cross-border collaborations.

DEY SAY’s organisers said the Nairobi leg will include engagement with fans and live performances of “Calling For You (Ringback)”. The release describes the song as blending African and Latin rhythms with global pop influences. The group’s management also pointed to the act’s online reach, stating it has more than 130,000 TikTok followers and over 10 million collective views.

Quaid Dunn, Co-Founder and A&R Lead at Plus Two Seven, said Kenya was selected deliberately as the first stop. “Kenya was intentionally chosen as the starting point for its strong influence on youth culture and its role as a gateway into East Africa’s vibrant creative ecosystem,” Dunn said in the press release.

Jonathan Jules, Co-Founder and Business Lead at Plus Two Seven, linked the tour to creator development. “KTOF empowers young African creators to dream bigger and reach further,” Jules said.

After Kenya, the group plans to return to South Africa for a national schools programme before continuing to Namibia, Zambia, Tanzania, Rwanda, Uganda and Ghana, according to the statement. The tour plan includes live performances, media appearances and “youth-focused workshops”, the organisers said, suggesting a format that blends entertainment with skills and community programming—an approach increasingly used by creative companies to build audiences while opening up sponsorship and partnership opportunities.

For Kenya’s events and entertainment ecosystem, the Nairobi stop points to continued demand for venue-led activations in retail and lifestyle destinations such as Village Market, as well as the commercial value of fan events that can be monetised through ticketing, brand placements and digital content. The cross-border itinerary may also support regional collaborations in production, promotion and distribution, particularly as Kenyan agencies and venues compete to host touring acts.

Looking ahead, the press release said 2026 will be a key production year for DEY SAY, with the group working on a debut double EP set for release later in the year. Interview requests are being handled via Anyiko PR, the statement said.

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.

The Embassy of the Czech Republic in Nairobi, working with AfricaCentric Entertainment, has launched Shanga Trails, a multi-year cultural initiative aimed at highlighting artistic and historical ties between Czechia and Kenya. The initiative was unveiled on Saturday, 22 November 2025 at The Opportunity Factory in Karen, Nairobi, according to a statement from the organisers.

The event brought together artisans, designers, media and cultural sector stakeholders for demonstrations of beadwork and storytelling on the history of Czech glass beads in Kenya and East Africa. Organisers said the programme will roll out through future exhibitions, outreach programmes, design collaborations and public installations.

Shanga Trails enters Kenya’s creative economy at a time when fashion, craft and cultural tourism are increasingly viewed as potential sources of value addition, export earnings and job creation. The initiative also links to long-standing trade and supply relationships in the bead and craft ecosystem: Raj Ushanga, described by organisers as the official distributors of Czech beads in Kenya and East Africa, partnered in the launch. The press release notes that Raj Ushanga has served as Kenya’s primary importer of Czech glass beads since 1976, dating back to the era of Czechoslovakia.

Czech Ambassador to Kenya H.E. Mrs. Nicol Adamcová said the programme is designed to run beyond a single event. “Shanga Trails was more than a single event; it marked the beginning of a multi-year journey that celebrates sustainable creativity and deepens cross-cultural exchange between Czechia and Kenya,” she said. She added: “Through this initiative, we aimed to empower artisan communities, inspire young people to explore design, and promote both cultural and environmental awareness through collaborative art projects, exhibitions, and public installations.”

Adamcová also framed the programme as a soft-power and partnership platform between the two countries. “By bringing together Czech glass artistry and Kenyan design and storytelling, Shanga Trails demonstrated the true strength of cultural diplomacy: the ability of art and creativity to transcend borders, connect people, and nurture shared values,” she said.

Organisers said the launch included partnerships with Kenyan craft and design players, including Anselm Kitengela Glass, which installed decorative pieces at the event. The programme also included performances and fashion showcases. Kenyan trumpeter Mr. Judah Onesimus, a member of Chamber Music Kenya and a graduate of the Prague Conservatory, performed live, which organisers said symbolised the exchange focus of the initiative.

On the fashion side, Sandstorm Kenya presented a new line of glass-beaded suede leather bags developed in collaboration with designer Wini Awuondo and beading communities, using Czech glass beads supplied by Preciosa Ornela, according to the press release. Studio Namnyak, led by Kenyan designer Namyak Odupoy, presented new pieces integrating beadwork.

While positioned as a cultural programme, Shanga Trails also outlines a conservation-linked fundraising component that could draw attention and resources to Kenya’s wildlife economy. Organisers said that in 2026 the initiative will collaborate with Ol Pejeta Conservancy on fundraising for the northern white rhino IVF programme. They also announced plans for Shanga Kifaru, described as a nationwide series of beaded rhino sculptures, culminating in a charity auction in September 2026 to support the same programme.

For Kenya’s creative and cultural industries, the programme points to an emerging model where artisan supply chains, design houses and international partners collaborate on product development and public-facing events. If sustained, this may create additional market routes for beadwork-based products and help formalise connections between community artisans and higher-margin design segments, though the organisers did not disclose funding levels, target revenues or projected artisan participation numbers.

Next milestones include the rollout of outreach programmes, exhibitions and collaborations referenced by the organisers, as well as the planned Ol Pejeta partnership and the September 2026 charity auction tied to the Shanga Kifaru project.

Blankets & Wine, a GoodTimes Africa production, closed its 2025 calendar with the Kenyan Summer 2025 edition held on Sunday, December 21, at Laureate Gardens, Moi International Sports Centre, Kasarani in Nairobi, according to the organisers.

The December event, staged under the theme “COME WE DANCE!” and delivered in partnership with the British Council’s UK/Kenya Season 2025, brought together “thousands of festival-goers” and featured two performance stages and an Onja Onja Market focused on Kenyan brands, the organisers said.

Blankets & Wine has grown into one of Nairobi’s established live entertainment properties, supporting a supply chain that includes event production, hospitality, brand partnerships, artist management, vendors and creative SMEs. Its continued regional and international activity also signals the increasing role of Kenyan-led cultural events in cross-border tourism and creative economy linkages across East Africa.

On the Main Stage, the lineup included Kenyan acts Shad Mziki, Bridget Blue, Elsy Wameyo, Okello Max, Ssaru, Matata and Iyanii. The organisers said the bill also featured Scorpion Kings (Kabza De Small & DJ Maphorisa), describing the performance as the duo’s first in Kenya, alongside Tanzania’s Marioo and South Africa’s Mi Casa.

The Onja Onja Stage ran from earlier in the day into the night and featured UK artist Donae’o as well as Kenyan DJs and performers including Darkfruit, Shishi, Foozak, Tina Ardor and Ms. Mika. The organisers said the stage closed with a back-to-back set from Aly Fresh, Mura and Big Nyagz.

Organisers linked the December edition to the festival’s broader international agenda in 2025. They said September 2025 marked the festival’s first UK edition, held in Bradford, which they framed as part of Blankets & Wine’s international expansion and as a continuation of collaboration with the British Council. The inclusion of Donae’o on the December lineup was described as a continuation of that partnership.

“2025 has been a defining year for us. From Bradford back to Nairobi, we’ve shown that Blankets & Wine is more than an event - it’s a living cultural platform that travels, evolves and connects people through music and joy,” said Muthoni Drummer Queen, Creative Director of Blankets & Wine, in the statement. She added: “Special thanks to the British Council’s UK/Kenya Season 2025 for supporting a fitting close to a truly transformative year for the festival, including our first-ever international edition in Bradford, UK.”

Diane Ywaya, Communications Manager at GoodTimes Africa, said the event’s programming and community support were central to its delivery. “What a powerful way to close the year. From the main stage to Onja Onja, the market and the dance floor, you reminded us why Blankets & Wine exists,” she said, thanking the community, artists and partners.

Justine Mbugua, Head of Festivals at Blankets & Wine, said operational execution remained a priority across the year’s editions. “Every edition this year reflected months of careful planning and a deep focus on service excellence. From production and hospitality to artist experience to audience flow, we are proud of the standard we delivered and the trust our community continues to place in us,” Mbugua said.

Beyond performances, organisers said the Onja Onja Market returned with a “Made in Kenya” theme, featuring Kenyan fashion, food, art, wellness and lifestyle brands. The market component is a revenue and visibility channel for local vendors, and it aligns with a broader trend in Kenya’s events industry where festivals increasingly bundle live entertainment with retail, food and experiential activations.

Looking ahead, the organisers said Blankets & Wine is entering its 17th year, positioning the 2025 close as a foundation for future editions and partnerships. Key milestones to watch will include the festival’s 2026 calendar announcements and whether it expands further into new markets following the 2025 Bradford event.