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.