Kenya’s entertainment and creative industry is evolving from a largely informal sector into a commercial powerhouse, creating new revenue streams, jobs and opportunities for businesses beyond the stage.
The Kenya National Bureau of Statistics puts the sector’s contribution to gross domestic product at 5.6 per cent, underscoring its growing economic significance.
Yet its biggest transformation is not just about how much money artists make.
It is about how the business of entertainment is changing.
In the 1970s and 1980s, many performing artists worked for little or no pay, relying on applause, a meal or the goodwill of organisers.
Today, top performers can command millions of shillings for a single show, while musicians, comedians and other creatives increasingly earn from endorsements, streaming platforms and exclusive live experiences.
The Covid-19 pandemic accelerated this shift.
When lockdowns and restrictions on public gatherings paralysed live entertainment, artists and event organisers turned to livestreams, online performances and social media to reach audiences.
Digital platforms became alternative stages, while the experience pushed promoters to rethink how they engage fans and generate income.
As restrictions eased, the industry emerged with a more diversified business model.
Physical concerts and festivals returned, but digital promotion, online communities and hybrid experiences remained important tools for reaching audiences beyond traditional venues.
Technology is now reshaping the entire event cycle, from marketing and ticket sales to audience management and revenue collection.
Digital ticketing makes it easier to buy tickets remotely, verify entry and track sales in real time.
Cashless payments can improve accountability, while customer data helps organisers understand audiences, target promotions and tailor future events.
Artificial intelligence is adding another layer of change.
Organisers can use AI-assisted tools to develop promotional content, analyse audience responses and automate customer communication.
These efficiencies reduce administrative workloads, although the technology also raises concerns about copyright, misinformation and the displacement of creative labour.
The biggest winners are those who recognise that entertainment is no longer just about the main act.
A successful event supports a wider commercial ecosystem involving sound engineers, lighting technicians, videographers, designers, software developers, security personnel, transport operators, caterers and marketers.
Last month, the Performing Artists and Visual Rights Society of Kenya distributed Sh43.6 million in royalties to 5,911 creatives during the 2025–2026 financial year, Sh19.6 million more than in the previous year.
The increase points to the growing importance of intellectual property payments, although the wider challenge remains ensuring that artists receive fair and transparent compensation for the use of their work.
Streaming services such as Spotify, Apple Music and YouTube have also widened the routes through which Kenyan artists can reach audiences and earn income.
TikTok and other social platforms help songs travel rapidly, build fan communities and attract brands seeking to connect with younger consumers.
Corporate Kenya has taken notice. Brands are attaching themselves to concerts, festivals and themed experiences to market products, engage consumers and strengthen loyalty.
Entertainment has consequently become a marketing channel as well as a cultural experience.
The next challenge is to make this growth sustainable.
Stronger copyright enforcement, transparent royalty collection, professional event management, investment in skills and better access to financing are essential.
The industry must also ensure that smaller and emerging artists share in its gains.
Kenya’s creative economy is no longer merely about talent entertaining an audience. It is an expanding commercial ecosystem.
The writer is a licensing officer at Performing Artists and Visual Rights Society of Kenya.
