Spotify hosted Karibu Night, a fashion-and-music event held at Heltz House in Nairobi on July 17, 2026, as part of day two of its 12-day Greasy Tunes programme. The event, hosted by Studio 18, featured a fashion showcase built around official Greasy Tunes merchandise and live performances by 10 Kenyan artists, according to a statement from Spotify.

The showcase was anchored on two merchandise items—an official Greasy Tunes jersey and scarf—designed by Studio 18. Spotify said designers within Studio 18 styled and reinterpreted the pieces into multiple looks inspired by the sounds and cultural references associated with Spotify’s Made In Kenya editorial playlist.

The activation forms part of Spotify’s wider push to connect streaming activity with offline cultural programming in Nairobi’s creative economy, where music, fashion, and live events increasingly overlap. For Kenyan businesses in entertainment, events, and consumer branding, such partnerships signal growing commercial opportunities around youth-focused experiences, merchandising, and artist discovery pipelines.

Spotify attributed the concept to performance trends among younger listeners. The company said Afropop listening grew 21% year-on-year among Kenya’s 18–24 listeners, and that 40% of Made In Kenya playlist listeners fall within the 18–24 age group. Spotify also said its June 2026 listening data showed that 18–24 listeners account for 53.7% of all streams in Nairobi, which it described as the highest Gen Z share among Nairobi, Lagos and Johannesburg.

“Made In Kenya is not just a playlist, it is a reflection of how Kenyan youth are shaping culture in real time,” said Bea Theron, Experiential Marketing lead for Spotify in Africa. “For Greasy Tunes, we wanted to take that energy beyond streaming and create moments where music could meet the other creative worlds it naturally lives alongside, including fashion. Karibu Night showed how strongly music, style and youth culture are connected in Nairobi.”

Studio 18 said it designed the merchandise to extend beyond a single night, as brands increasingly treat limited-run apparel as both marketing and a revenue line in the creative sector. “The jersey and scarf were designed as pieces that could live beyond a single event,” said Brandon Zamani, Studio 18 co-Founder. “For Karibu Night, it was exciting to see different designers within Studio 18 take those pieces and reinterpret them through their own creative language.”

The event’s performance lineup included BURUKLYN BOYZ, Sukuma, Afrikun, Solo, Angelo, Coco Kahi, Dauudi O., Love, Mani, Nig.Wav and Ojizzo, according to the statement. Spotify said BURUKLYN BOYZ featured on the Made In Kenya playlist cover on day two to align with their Karibu Night performance, and that the playlist cover changes daily during Greasy Tunes to spotlight artists connected to each day’s events.

Greasy Tunes runs over 12 days and includes 20 events hosted with 12 communities and partners, spanning food and music as well as podcasts, comedy, sport, fashion and other live programming, Spotify said. For Kenya’s creative and hospitality sectors, the schedule reflects the increasing role of multi-venue programming in driving foot traffic and building creator-led communities that can attract brand partnerships.

Spotify did not disclose financial details for the programme. The company said additional Greasy Tunes events would continue across the remaining days, with the Made In Kenya playlist continuing to rotate its cover to reflect participating artists.

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 30 in Nairobi.

According to the press release, the programme—launched in February—is backed by Kenya Breweries Limited (KBL) through its Tusker brand, with musician Bien serving as the principal mentor. The six were selected from a shortlist of 30 following a voting process involving members of the public and industry experts during a live showcase held at the Tusker Brew House.

The organisers said the initiative is structured as an artist development platform rather than a competition, and does not include a “winner-takes-all” cash prize. Instead, the programme targets Kenyan artists who already show market traction. B2B said its eligibility benchmarks include having released an album or EP, live performance experience, at least one million career streams, and a social media audience of more than 10,000.

Christine Kariuki, Head of Mainstream Beer at KBL, said the company expects to track how the initiative supports the artists’ professional growth. “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.”

Bien said the programme is designed to combine mentorship with operational structure. “I am quite optimistic about the level of talent and originality we are seeing from the artists in this programme,” Bien 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 press release identified each finalist with a track associated with their recent visibility: Muringi for Managī, Manasseh for Dark Brown Eyes, Zawadi for Jua Tua, Chris Barr for Hamu, Peter Njuguna for Delulu, and Ras Amor for Hawa Wasichana.

Over the next six months, B2B said the finalists will attend weekly workshops covering vocals, songwriting and dance/movement, alongside monthly masterclasses on the business of music, including branding, publishing, distribution, contracts, monetisation and international expansion.

For Kenya’s creative economy, the programme reflects a growing role for corporate-backed platforms in professionalising talent pipelines amid expanding consumption of local music. In the statement, B2B pointed to ongoing industry constraints that make it difficult for semi-established acts to convert audience momentum into sustainable careers, citing limited mentorship, fragmented industry structures and insufficient commercial backing.

The organisers said the programme will culminate with the six artists forming a collective and releasing a joint album, followed by a launch event. The timing and commercial arrangements for the album release were not disclosed in the statement.

Tusker has previously supported music programming including Tusker Project Fame, Nexters and Oktoberfest, according to the release, with Base to Billboardz positioned as a longer-cycle development initiative. The next milestone for B2B will be the start of the weekly workshops and masterclasses leading up to the joint album release and debut event.

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-Dutch singer-songwriter Dunia Wamaitha has released a new Afropop/dance single, “Have Some Fun (Not the One)”, produced by Kenyan musician and producer Savara, according to a press release issued on December 2, 2025. The track is available on major streaming platforms via Sol Generation Publishing.

The release adds to a growing pipeline of Kenyan music exports, reflecting the continued commercialisation of Afropop and the increasing role of international diaspora talent in extending the reach of Kenyan creative intellectual property. Wamaitha, who is Kenyan-born and based in Amsterdam, is positioning her music for global distribution while retaining Kenyan production inputs through the collaboration with Savara.

In the statement, the single is described as written by Wamaitha and centred on “joy, confidence and choosing yourself.” The press release adds that the song blends pop and Afro elements and is aimed at empowering listeners.

Wamaitha said the concept behind the song was to deliver empowerment and self-assurance. “My goal was to make a song that empowers listeners to feel sexy and powerful, no matter what they’re going through,” Dunia Wamaitha said in the press release. She added: “It blends pop and Afro elements and expresses my desire to embody both logic and intuition, embracing my femininity while staying strategic and independent. It’s about being unapologetically myself and finding empowerment through balance.”

Savara’s involvement is notable within Kenya’s music business, where established acts increasingly participate in production, publishing and rights-led collaborations beyond performance. The release states that the track was produced by Savara and frames the partnership as part of Wamaitha’s studio experience and creative direction.

Wamaitha’s background includes performance work and acting, which the press release links to her broader artistic identity and storytelling approach. According to the statement, she began writing rhymes as a child and later performed in professional musicals, experiences that helped build her vocal confidence and commitment to music.

For Kenya’s creative economy, cross-border projects such as this can expand opportunities in music publishing, producer services, and royalty-driven income—particularly when distribution is structured through formal entities. In this case, Sol Generation Publishing is cited as the publishing channel for the release. While the statement does not disclose financial terms, streaming-led releases typically rely on scale and sustained audience growth, making marketing, playlisting, and live performance tie-ins key to monetisation.

The press release indicates Wamaitha plans to release more music in 2026, signalling further output that could strengthen her catalogue and licensing potential across platforms, brand partnerships and sync opportunities.

“Have Some Fun (Not the One)” is out now on major streaming services, the statement said. Media inquiries were directed to press@anyiko-pr.com.