The Energy and Petroleum Regulatory Authority (EPRA) has urged Kenya’s industrial and manufacturing firms to adopt energy efficiency measures to reduce operating costs and free up electricity for wider distribution, following the rollout of new energy management rules.

In a press release dated March 11, 2026, EPRA said the push targets industries that are among the country’s largest energy consumers and aims to lower energy used per unit of output while maintaining or increasing production. The regulator’s call was made in Nairobi during a meeting attended by chief executives and leaders from the industry and manufacturing sectors.

The agency cited data from its Energy and Petroleum Statistics report for June to December 2025, which shows the industrial category consumed 2,924.48 GWh of electricity, up 4.18% from 2,807.10 GWh in the same period of 2024. EPRA said this consumption accounted for 49.25% of Kenya’s total electricity use over the period.

Against this backdrop, EPRA said the Energy (Energy Management) Regulations, 2025, set “clear expectations for energy management across commercial, industrial and institutional facilities” that consume more than 180,000 kWh of electrical and thermal energy annually. EPRA said the regulations are intended to promote efficient and sustainable energy consumption as demand grows.

Alex Wachira, Principal Secretary in the State Department of Energy, told the meeting that investments in energy efficiency could release capacity across the system without building new generation plants. “By so doing, industries will free up power, thereby creating what is referred to as virtual power plants’,” Wachira said, according to the press release. He added that the saved electricity could be distributed to more factories, homes and commercial centres “without having to invest in new power plants.”

EPRA Director General Daniel Kiptoo Bargoria outlined compliance expectations for qualifying facilities, including periodic audits and internal governance structures. “Among other things, the Regulations require that facilities conduct comprehensive energy audits once every four years, implement the recommendations and realise at least 50% of the projected savings, appoint a licensed energy manager and establish an internal energy management committee,” Kiptoo Bargoria said. He said the measures are designed to strengthen corporate governance practices linked to competitiveness and resilience.

Beyond industrial facilities, EPRA said it is also implementing the Energy (Appliances’ Energy Performance and Labelling) Regulations to ensure that appliances manufactured locally or imported into Kenya meet Minimum Energy Performance Standards (MEPS). EPRA said the measures target products such as refrigerators, air conditioners, lighting appliances and motors, which are significant contributors to electricity demand in homes and commercial facilities.

The developments matter for Kenya’s business environment as electricity costs remain a major input for manufacturing and heavy industry, while the grid continues to balance demand growth from households, services and industrial expansion. By directing large consumers to reduce wastage and improve management systems, EPRA’s approach could lower peak demand pressure and improve reliability for firms that depend on stable power.

For manufacturers and other high-consuming facilities, the regulations could also drive increased spending on energy audits, monitoring systems and efficiency upgrades, as well as the use of licensed energy managers. In the near term, industry players may need to review compliance timelines, audit cycles and the feasibility of meeting the requirement to realise at least half of projected savings from audit recommendations, as stated by EPRA.

EPRA said the regulations apply to facilities above the 180,000 kWh annual threshold and will guide energy management practices across commercial, industrial and institutional users. Further implementation details are expected to shape how quickly firms adopt audits, governance structures and appliance standards enforcement across supply chains.

HER2+ breast cancer cost seven African economies more than KES 1.3 trillion (USD 10 billion) in lost productivity between 2017 and 2023, according to research presented at the 2026 Roche Africa Press Day held in Nairobi on March 4-5.

The findings, unveiled by healthcare company Roche and attributed to a study by the WifOR Institute, cover Algeria, Côte d’Ivoire, Kenya, Morocco, Nigeria, South Africa and Tunisia. Roche said the analysis focused on the economic impact of HER2+ breast cancer, an aggressive subtype the research estimates is responsible for up to 20% of breast cancer cases on the continent.

The event brought together journalists from nine African countries alongside policymakers, economists, health experts and development finance leaders. Discussions centred on the theme “Health is Wealth” and the role of women’s health investment in strengthening health systems and driving economic growth, according to the organisers.

In a keynote address, Kenya’s Principal Secretary for Medical Services at the Ministry of Health, Dr Ouma Oluga, called on the media to shape public understanding of health reform. “When a health story is being told, what is most important to portray? Is it what is killing people? Is it the solutions that should stop what is killing people? Or is it the in-between—the administrative, resource, and policy actions that link the two?” Dr Oluga said.

Roche said the WifOR Institute research found that nearly 90% of the productivity losses came from women in their prime working years. The analysis also estimated that every KES 130 (USD 1) invested in innovative breast cancer treatments can generate up to KES 1,607 (USD 12.40) in economic returns, primarily by restoring women’s productivity and enabling longer healthy working lives.

Maturin Tchoumi, Pharma International Area Head for Roche Africa, said the data supports treating health spending as an economic policy lever. “Breast cancer is a rising threat to African societies and economies. The evidence clearly shows that investing in women’s health is not a cost or a social expense, but a powerful economic driver that underpins productivity, resilience, equity, and sustainable growth across the continent,” Tchoumi said.

Beyond productivity, speakers also pointed to structural challenges in cancer care access. Roche said a key theme was closing screening and early diagnosis gaps that contribute to around 77% of African women being diagnosed at later stages of breast cancer, citing a statistic referenced in the press materials.

H.E. Dorothy Nyong’o, First Lady of Kisumu County, Chair of the Africa Cancer Foundation and a member of the Africa Breast Cancer Council, highlighted Kenya’s EMPOWER initiative for breast and cervical cancer. According to Roche, the programme digitises the patient journey through 76 physical and virtual clinics to speed up diagnosis and treatment. Since 2019, EMPOWER has reached over 235,000 women and enabled 3,225 to receive treatment, and has been adopted by the National Cancer Institute of Kenya as a nationally integrated platform, Roche said.

“Tackling breast cancer is not just a moral issue; it’s a strategic choice. Kenya’s EMPOWER initiative highlights how partnership and digital innovation can create a step-change in women’s healthcare. It offers a blueprint to other African countries for public-private collaboration that drives systemic, equitable, and lasting change,” Nyong’o said.

For Kenya’s business landscape, the analysis reinforces the link between non-communicable disease outcomes and labour force participation, particularly for women who make up a significant share of the formal and informal workforce. The claims also add momentum to policy conversations around financing diagnostics, expanding early screening, and integrating cancer services into primary healthcare—areas that can influence healthcare spending priorities, insurance coverage, and workforce productivity.

Roche said other initiatives discussed at the Nairobi meeting included pilot Women’s Integrated Care Services in Kenya and Côte d’Ivoire, efforts to build sustainable diagnostic and laboratory networks for pandemic preparedness, and increased emphasis on African-led science such as genomics and local research.

Roche and participating stakeholders did not announce specific funding commitments at the event in the materials provided, but the company positioned the research as an input for future public-private partnership models and health system investment decisions.

Nairobi Jiu-Jitsu Academy (NJA) has opened a new combat sports training facility at New Muthaiga Mall, Thigiri Ridge, Nairobi, with the academy saying the site is the largest martial arts training ground in East Africa. The academy announced the opening in a press release dated 3 March 2026, following a three-day launch programme that began on Friday, 27 February.

According to NJA, the new facility occupies 650 square metres on the mall’s second floor and includes what it described as Kenya’s only octagon cage for MMA training, a strength and conditioning area, four types of heavy bags for striking training and a 150-square-metre open mat area.

The opening drew a guest list that included two international MMA figures: Renato “Babalu” Sobral, a former Strikeforce Light Heavyweight World Champion and UFC title challenger, and Professor Ricardo Testai of Kings MMA in California, whom NJA identified as a Brazilian Jiu-Jitsu (BJJ) head coach and a grappling coach who has worked with UFC athletes including Fabrício Werdum, Marvin Vettori and Kelvin Gastelum.

“The Nairobi Jiu-Jitsu Academy (NJA) has officially opened doors to its new, state-of-the-art training facility on the second floor on New Muthaiga Mall, Thigiri Ridge, Nairobi,” the academy said in the statement.

NJA said both Sobral and Testai led workshops for children and adults during the opening weekend. The academy added that athletes from Kenya, Tanzania and the Democratic Republic of Congo attended, alongside families, fans and media, for programming that included MMA and BJJ seminars, an introduction to strength and conditioning, and a belt promotion ceremony.

For Kenya’s urban retail landscape, the opening is another example of malls attracting service-led tenants that rely on recurring subscriptions and community footfall rather than traditional retail sales. Westlands and its environs have increasingly positioned themselves as hubs for gyms, wellness operators and specialised sports training, catering to Nairobi’s growing middle-income consumer base and a more competitive fitness market.

NJA said it will offer Brazilian Jiu-Jitsu programmes for children and adults, and MMA training for both amateur participants and fighters. The academy also said it is introducing structured Strength & Conditioning programmes and a new “MMA Fitness” programme, which it described as a contactless MMA-based training option.

“The expansion represents NJA’s long-term vision: to develop disciplined athletes, empower our community, and contribute to the continued rise of Kenya and East Africa on the global combat sports stage,” the academy said.

The academy linked the decision to expand to what it called “growing demand from children, hobbyists, aspiring professionals and competitive athletes alike,” and said the additional space is intended to maintain coaching standards while providing a “safe, inclusive training environment.”

In the regional sports business context, investment in larger, specialised facilities could support the formalisation of combat sports through more structured training pipelines, higher-quality coaching and more consistent event preparation. If sustained, this can influence adjacent markets such as sportswear retail, physiotherapy and sports tourism linked to seminars and visiting coaches, particularly as Nairobi positions itself as a regional events and services hub.

NJA said it will continue rolling out its strength and conditioning offering alongside its martial arts programmes. The academy did not disclose capital expenditure or pricing details for the new facility.

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 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.