Google has expanded its Search Live feature globally, making it available in all languages and locations where its AI Mode is available, the company said on Thursday in a statement distributed to media. The expansion enables users in more than 200 countries and territories to hold real-time conversations with Search in AI Mode using both voice and camera.

The rollout is linked to the launch of Gemini 3.1 Flash Live, which Google described as a new voice and audio model designed to support multilingual, real-time interactions. Google also said it is expanding Google Translate’s “live interpreter headphone experience” to iOS devices—where it was previously available on Android—and to more countries.

The changes matter for Kenya and other African markets where Google products are widely used for consumer search, mobile-first information access and business discovery. Real-time, voice-led search and camera-assisted queries could shape how consumers research products and services, while broader live translation support may affect cross-border travel, customer service and multilingual commerce in a region with diverse languages.

In its overview of the announcement, Google said: “Search Live has launched globally, for all languages and locations where AI Mode is available.” The company added that “people in more than 200 countries & territories can have real-time conversations with Search in AI Mode, using both voice and camera.”

Google also introduced the underlying model it says enables the rollout. “Introducing Gemini 3.1 Flash Live, Google’s latest voice and audio model,” the company said, adding that the model is “inherently multilingual” and supports the global expansion of Search Live.

According to the statement, Gemini 3.1 Flash Live will be available through multiple channels: developers can access it via the Gemini Live API in AI Studio in preview, enterprises can use it through Gemini Enterprise for Customer Experience, and consumers can use it through Search Live and Gemini Live globally.

For Kenyan developers and technology firms building voice-driven applications, Google’s decision to make a “Live API” available in preview could lower the barrier to prototyping conversational interfaces for sectors such as fintech support, retail, health and logistics. For enterprises, the inclusion of the model in customer experience tools indicates increased competition among cloud and AI providers targeting contact centres and customer engagement workflows across Africa.

The iOS expansion of Google Translate’s live interpreter headphone experience may also be relevant in markets with high iPhone usage in business settings and among international travellers. If rolled out locally, the feature could support meetings, hospitality and other service industries that rely on rapid, accurate interpretation.

Google did not provide rollout timelines for specific countries beyond stating the global availability parameters tied to AI Mode, nor did it disclose pricing for developer or enterprise access. The company directed readers to product blog posts and a press kit for additional details.

Next, the pace of adoption in Kenya is likely to depend on AI Mode availability, user awareness, data costs and enterprise readiness to integrate live voice and translation tools into customer-facing operations. Developers will also watch for changes as the Gemini Live API moves from preview to broader release.

KCB Group CEO Paul Russo joined policymakers, investors and development finance institutions at the 3rd Climate Change Global Business Summit on Africa in Nairobi to discuss how private investment can accelerate climate solutions across the continent, according to a statement circulated after the event.

The summit was held at Villa Rosa Kempinski Hotel and brought together business leaders, senior government officials and sustainability experts to explore financing pathways for Africa’s green transition. The discussions covered mobilisation of capital, climate resilience, and positioning Africa as a destination for sustainable investment, the statement said.

According to the statement, the forum included Agriculture Cabinet Secretary Mutahi Kagwe, private sector representatives including the Kenya Private Sector Alliance (KEPSA), and global investors including the French Chamber of Commerce. Agenda items included unlocking private investment in climate solutions, strengthening sustainable urban development and mobility, and financing climate-resilient energy and infrastructure.

KCB participated in a high-level panel titled “Climate Finance, Equity, and the Just Transition: Unlocking Private Investments in Kenya and Africa,” which the statement said was moderated by journalist Yvonne Okwara.

During the discussion, Russo said partnerships would be critical to making climate projects bankable and investable. “We have built a team of subject matter experts, and we are therefore equipped to co-create solutions,” Paul Russo, KCB Group CEO, said in the statement.

He also pointed to structural constraints in the climate finance market, arguing that stronger collaboration is needed among development finance institutions, governments and commercial banks to share risk, improve project pipelines and unlock long-term capital, according to the statement.

Russo linked the remarks to KCB’s sustainability strategy, saying the lender is prioritising financing for renewable energy, clean technologies and low-carbon growth. “We have set a target to allocate 25% of our total loan book to green financing, helping accelerate the transition toward sustainable industries,” Russo said.

The remarks come as Kenyan banks and corporates seek to finance energy transition and climate adaptation projects at a time when long-tenor, affordable capital remains limited for many borrowers. In Kenya, demand for funding is being driven by renewable energy build-out, climate-smart agriculture, e-mobility, and resilient infrastructure—sectors that often require blended finance structures, guarantees, or concessional capital to close viability gaps.

For the financial sector, commitments such as allocating a share of loan books to green financing can influence competition for climate-aligned deals and may increase pressure to strengthen internal capacity for climate risk assessment and project evaluation. The availability of investable projects—with robust feasibility studies, permitting progress and credible offtake arrangements—remains a key bottleneck across East Africa, market participants say.

Looking ahead, the push for scaled climate finance is expected to continue through policy engagement and deal structuring between banks, development finance institutions and government agencies as Kenya and the region expand pipelines of renewable energy, clean transport and climate-resilient infrastructure projects.

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.

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.

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.