The LOOP Safari Gravel Series will return for a third season with a four-leg calendar starting in Limuru on March 7, 2026, according to a press release issued on February 17, 2026.

The organisers said the Limuru opener is expected to attract more than 700 cyclists from across the region, competing for a top team prize of up to KES 125,000. Limuru will host the series for the first time, with the organisers citing the area’s rolling hills, tea plantations and gravel routes as the setting for the race.

The LOOP Safari Gravel Series has positioned itself as one of the region’s competitive gravel cycling events, and its continued expansion highlights the growing business around endurance sports in Kenya, including event logistics, hospitality, local tourism and brand sponsorship tied to sports participation. Limuru’s inclusion also broadens the geographical footprint of the event beyond previous host locations, potentially spreading race-related spending to new areas along the circuit.

“The LOOP Safari Gravel Series is set to return for the third year with an action packed four-leg calendar that will once again bring competitive gravel cycling to some of Kenya’s most scenic landscapes,” said Nancy Muthoni, in the statement shared with media.

Muthoni said the Limuru event is a new destination for the series. “The season opener will be held in Limuru on March 7, 2026, a new destination for the series offering fresh terrain and new challenges for riders and spectators alike,” she said.

For 2026, the series will add what it described as a rider-led element to determine one of its host venues. “This year’s season is anchored on giving cyclists a voice with the introduction of a new riders’ choice leg which will see riders vote for the location that will host the fourth leg,” Muthoni said.

After the Limuru opener, organisers said the second leg will be held in Naivasha on June 13, 2026, and will be a UCI-qualifying race. The third leg is scheduled for Vipingo on August 28, 2026. The final “riders’ choice” leg will conclude the season on October 24, 2026, with the host location to be selected through voting by participants.

The inclusion of a UCI-qualifying race in Naivasha signals the organisers’ focus on aligning at least part of the calendar with international cycling standards, which can influence the type of participants attracted to the series and the level of scrutiny on route design, safety and race operations. For Kenya’s sports events market, UCI-linked races can also strengthen the country’s positioning as a destination for competitive cycling, with potential spillover for training camps, equipment retail and cycling tourism.

Key milestones for the series will be the Limuru opener in March, the Naivasha UCI-qualifying event in June, and the announcement of the rider-voted final-leg location ahead of the October finale.

MultiChoice Kenya has kicked off its ‘All I Want Hii Krisi’ festive season campaign with a community activation at Nyayo Estate’s Malaika Park in Nairobi, the company said in a media brief dated Oct. 24. The activation marked the start of a month-long nationwide rollout aimed at driving uptake of DStv offers and in-person fan engagement across major towns.

According to MultiChoice, residents at the Nyayo Estate event were given a hands-on DStv experience, access to branded merchandise and giveaways, and a range of discounts under the festive campaign. A key promotional price point highlighted by the company was a reduction in the retail price of the DStv Zapper decoder to KES 850, from KES 1,199.

The activation also featured appearances by cast members from DStv shows, including Lulu, Lazizi, Njoro wa Uba, and Qware. MultiChoice said attendees interacted with actors and creators during activities designed to bring audiences closer to content beyond the screen.

The campaign comes as pay-TV and streaming providers in Kenya compete for consumer spending amid price sensitivity and increased choice in entertainment platforms. Decoder and subscription promotions remain a common strategy in the sector as operators seek to retain existing customers and attract new households, particularly during high-viewership periods such as the year-end festive season.

In its statement, MultiChoice said the Nyayo Estate activation was designed as “a vibrant celebration of storytelling, community, and the power of shared entertainment.” The company added that residents “were fully immersed in the DStv experience, enjoying exclusive access to premium merchandise, exciting giveaways, and… festive discounts under the ‘ALL I Want Hii Krisi’ campaign.”

MultiChoice also pointed to the decoder discount as a central part of the campaign, saying, “Many took advantage of the standout offer of the season which is the DStv Zapper decoder now retailing at just KES 850, down from KES 1,199.”

For Kenya’s broadcast and content market, the rollout highlights how entertainment brands are increasingly using community activations and experiential marketing to support sales and strengthen audience loyalty. Such events can also help content producers and show brands grow viewership by turning TV franchises into live, local touchpoints—an approach that has become more visible across East Africa’s creative economy.

MultiChoice said the campaign will continue through the month with activations in “different regions and major towns across the country,” signalling further public events tied to DStv offers and talent appearances. The company did not provide a detailed schedule of towns or dates in the media brief.

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.

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.

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.

ANZA MMA staged what it said was Kenya’s first professionally sanctioned mixed martial arts (MMA) event on Friday, December 5, 2025, at Broadwalk Mall in Nairobi, bringing together professional fighters from Kenya, Uganda and Tanzania in a card where every bout ended in a stoppage.

In a press release dated December 8, 2025, the promoter said the event, branded KO Fight Night by ANZA MMA, was sold out and was also broadcast live on YouTube. ANZA MMA added that the broadcast featured commentary from Julio DeSouza, who it described as a Brazilian Jiu-Jitsu black belt and co-founder of Nairobi Jiu-Jitsu Academy, and was hosted by Alex Holi.

The event signals a push to formalise and monetise combat sports in Kenya through professionally sanctioned formats, broadcast distribution and event production, as local promoters test whether MMA can attract consistent gate revenues and sponsorship in a market where boxing and football have traditionally dominated attention.

ANZA MMA said the Nairobi card drew entertainment acts including Savara, Octopizzo and Boutross, with live performances between fights. The promoter positioned the event as part of its broader effort to build an MMA pipeline in the region, following years focused on developing amateur competition.

On the sporting side, ANZA MMA reported first-round wins on the main card for Kenyan fighters Ouhsummer Ali Abad, George Itumo and Kelvin Odongo. Odongo received what the promoter termed the “KO of the Night” bonus, while Tanzanian fighter Dauda Rajabu was awarded “Submission of the Night,” according to the statement.

“Tonight was a historic moment not only for ANZA MMA but for Kenya and East African combat sports,” Peng Chen, founder of ANZA MMA, said in the release. “The athletes delivered world-class performances, the fans brought unforgettable energy and the entire country proved it is ready for elite professional MMA.”

Chen said the promotion plans to expand its events calendar next year. “Next year, fans can expect to see more ANZA MMA amateur and pro fights in Nairobi and different regions in the country,” he said.

ANZA MMA also said the event attracted interest from international MMA organisations “including UFC PFL and AKO,” adding that Daniel Kijo, identified as Director of Marketing & Operations at PFL Africa, attended “as a show of PFL Africa’s interest in ANZA MMA and developing local talent.” The statement did not disclose any commercial agreements, rights deals or investment commitments linked to the attendance.

Main-card results listed by the promoter were: Ouhsummer Ali Abad (Kenya) defeated Stephen Rackara (Uganda) by Round 1 TKO (Ground & Pound) at featherweight; George Itumo (Kenya) defeated Joel Ssemanda (Uganda) by Round 1 TKO (Ground & Pound) at bantamweight; Kelvin Odongo (Kenya) defeated Jonani Tugume (Uganda) by Round 1 TKO (Strikes) at heavyweight; and Dauda Rajabu (Tanzania) defeated Farouk Ogwal (Uganda) by Round 1 submission (Triangle Choke) at flyweight.

Preliminary results listed were: Rashidi Mlegelo (Tanzania) defeated Justin Okot (Uganda) by Round 1 submission (Rear Naked Choke) at featherweight; Annet Rose Kiiza (Uganda) defeated Rael Ashubwe (Kenya) by Round 2 TKO (Ground & Pound) at flyweight; and Moses Musisi (Uganda) defeated Joakim Ikalakala (Kenya) by Round 2 submission (“Mother’s Milk”) at welterweight.

For Kenya’s sports business ecosystem, the key test will be whether professionally sanctioned MMA can sustain repeat events through ticketing, sponsorship and media distribution—particularly as promoters seek to build reliable athlete pathways, coaching infrastructure and regulatory frameworks. ANZA MMA said KO Fight Night was supported by Kenya Originals, Açaí Oasis, You C.1000 Drinks, MMA Gold and HustleSasa.

ANZA MMA said it will stage more amateur and professional fight nights in 2026, expanding beyond Nairobi to other regions, as it works to grow the sport’s national footprint.

Blankets & Wine, produced by GoodTimes Africa, has announced the lineup for its Kenyan Summer 2025 edition, scheduled for Sunday, December 21, 2025 at Laureate Gardens, Moi International Sports Centre, Kasarani in Nairobi. Organisers said the event will start at 12pm and will feature two stages, with tickets available via the Mookh platform.

The bill includes Kenyan acts Iyanii, Matata, Okello Max, Ssaru, Bridget Blue, Elsy Wameyo and Shad Mziki, alongside regional and international performers led by South Africa’s Scorpion Kings (Kabza De Small and DJ Maphorisa), Tanzania’s Marioo and UK artist Donae’o, according to the press release dated December 9, 2025.

The festival is being staged under the theme “COME WE DANCE!” and is partnered with the British Council’s UK/Kenya Season 2025, which the organisers described as a cultural exchange initiative linking UK and Kenyan creative industries. The partnership follows Blankets & Wine’s UK debut in Bradford earlier in 2025, the statement said, adding that the collaboration is extending back to Nairobi for the December event.

“Our debut in Bradford, UK this year, proved that the Blankets & Wine experience travels and that African creativity resonates globally,” said Muthoni Drummer Queen, Creative Director of Blankets & Wine. “Bringing Donae’o to Nairobi is a full-circle celebration for us, showing that the UK/Kenya Season is not a moment but a movement.”

A British Council spokesperson said the organisation would continue supporting the partnership. “We are delighted to continue this partnership. Blankets & Wine embodies the mutual exchange and creative innovation that the UK/Kenya Season was built to champion,” the spokesperson said.

On the main stage, organisers said South Africa’s Mi Casa will also perform, adding to a lineup that blends Kenyan genres such as gengetone with Afrofusion, R&B and contemporary African pop. The Onja Onja Stage will focus on electronic and alternative programming, featuring Foozak, Tina Ardor, Ms. Mika, Darkfruit, Shishi, and a back-to-back set from Aly Fresh, Mura and Big Nyagz, the release said.

Beyond music, organisers said the Onja Onja Market will return as a holiday marketplace for Kenyan fashion, food, art, wellness and lifestyle brands. The market is positioned as a platform for local traders to reach festival audiences during the year-end consumer season, when discretionary spending typically rises for leisure, gifting and travel-related activities.

The announcement underscores the growing role of ticketed live entertainment in Kenya’s urban consumer economy, with events increasingly bundling music, food and retail experiences into a single spend occasion. For Kenyan brands and SMEs, festival marketplaces have become an additional route to customer acquisition and product testing, while large-format venues such as Kasarani provide the scale needed for higher-capacity events.

Organisers also said Blankets & Wine, now in its 17th year, is focusing on operational and production improvements. “For years, we’ve worked tirelessly to delight audiences through exceptional artistry and dependable production. Now we are sharpening our operations, sound, staging, hospitality and accessibility,” said Muthoni Drummer Queen.

Justine Mbugua, Head of Festivals at Blankets & Wine, said the team is prioritising service execution. “Each edition strengthens the cultural ecosystem. We are deeply focused on service excellence and creating a seamless experience from entry to exit,” she said.

Next milestones include ticket sales performance ahead of the December date and the release of additional programming details around staging and market vendors. The organisers said more information is available on the festival’s website and social channels, while media inquiries are being handled by Anyiko Public Relations.

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.

Pungulu Pa Productions, a Nairobi-based animation studio, hosted the inaugural Pungulu PArty! Children’s Festival on December 7, 2025 at the Parade Ring, Ngong Race Course, positioning the event as an off-screen extension of its Uli & Tata African Nursery Rhymes animated series.

In a statement dated December 16, 2025, the company said the first edition drew more than 400 attendees and featured a mix of screenings, storytelling, music, dance, workshops and interactive activities targeted at families. The festival comes as Kenyan creative businesses increasingly look to diversify revenue beyond digital content through live experiences, brand partnerships and licensing-linked events.

The studio said the festival programming included a screening experience curated by the Zamaleo Storytellers, which it described as blending cinema with a drum-circle format where children participated through singing and movement. A puppet show by Buni Media’s Matata and Friends also featured as part of the day’s activities.

The event included appearances by lead voice actors associated with the Uli & Tata series. John Sibi-Okumu, who voices the bird character Tuki, and Fadhilee, who voices Tata, attended alongside members of the production team, including the series’ music director, Fancy Fingers, according to the press release.

Chief Nyamweya, creative director of Uli & Tata’s African Nursery Rhymes, linked the festival to perceived gaps in Nairobi’s family entertainment market. “As young parents, my co-founders and I had long felt the lack of engaging and affordable activities for children in Nairobi,” Nyamweya said. He added that demand from audiences of the series helped shape the concept: “Parents of kids who love our show had been asking for over a year for more off-screen experiences connected to the series.”

Live music formed part of the event’s line-up. Pungulu Pa Productions said performances featured Kenyan acts Liboi, Komora and Papillon Musa, while DJ sets were provided by Santuri. The studio also said children participated in an introductory Jiu-jitsu session delivered by Nairobi Jiu-jitsu Academy.

Sarah Mallia, producer of the Uli & Tata series, said the event was intended to create a space for families to engage with cultural themes embedded in the show. “We witnessed something powerful - families reconnecting with the songs, stories and traditions that make us who we are,” Mallia said. She added that the company interpreted the turnout as evidence of demand for child-focused cultural programming: “The success of the event affirms how deeply Kenyan families long for spaces where our cultural heritage is honoured, shared and passed on.”

The festival is part of a broader push by Kenyan content producers to commercialise intellectual property across formats, including live events. While the company did not disclose ticketing, sponsorship or revenue figures, the ability of local animation IP to mobilise paying family audiences is increasingly relevant as producers seek sustainable models in a competitive media and entertainment landscape.

Pungulu Pa Productions said it plans to hold another edition of Pungulu PArty!, though it did not provide dates or venue details. The studio also outlined its wider work on children’s content, stating that much of its animation is completed by Kenyan animators and that its creative team conducted research across Kenya and Tanzania to collect nursery rhymes used in the series.

Separately, the studio acknowledged institutional and programme support for the Uli & Tata African Nursery Rhymes series, naming the French Government’s Creation Africa programme, the National Geographic Society, Afrique Créative (financed by Agence Française de Développement), the Kenya Film Commission, Africa No Filter and Braid Arts & Culture Fund among partners cited in the statement.

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.