Kenya’s creative industry sitting on Sh7.1 billion in lost revenue -The Standard Health

Kenya’s creative economy has no shortage of talent, but turning that potential into sustainable businesses, exports and jobs will require investment, stronger intellectual property protection, reliable infrastructure and access to international markets.

This was the message from a session on the creative economy at the Africa Commerce and Industry Summit (ACIS) 2026, held at Uhuru Gardens in Nairobi on Wednesday.

Moderated by Angela Ndambuki, Regional Director for Sub-Saharan Africa at the International Federation of the Phonographic Industry (IFPI), the discussion brought together industry leaders to examine how Kenya can turn creative output into commercial value.

Opening the session, Eric Musyoka, Chairman of the Recording Industry of Kenya (RIKE), pointed to the untapped potential of the recorded music sector.

He estimated that radio broadcasts of sound recordings generated a market worth more than Sh600 million, representing potential revenue for record companies and independent artists from Kenya’s more than 400 radio stations using their music.

Citing the Music Economy Development Initiative (MEDI) Report 2026, Musyoka said Kenya’s music industry could lose about Sh7.1 billion annually in uncollected revenue, highlighting the gap between music production and the earnings that reach rights holders.

Mike Otieno, Co-Founder and President of Wowzi, outlined how creative and digital businesses can grow through technology, data, structured business models and investment readiness.

In a presentation titled “From Creativity to Commercial Scale”, he said businesses seeking investment needed to demonstrate market demand, sound commercial practices and a credible path to growth.

The role of government in opening international markets also featured in the discussions. In a keynote address prepared by Dr Korir Sing’Oei, Principal Secretary for Foreign Affairs, and delivered by Polycarp Otedo, Director of Foreign Service, the government was urged to treat creative industries as economic assets capable of generating trade, investment and exports.

The subsequent panel discussion brought together Drew Giblin of the US Embassy in Nairobi, filmmaker Wanuri Kahiu and US-based Kenyan artist Lovince McKenzie.

Giblin said predictable regulations and commercially viable opportunities were essential to attracting investment into Kenya’s creative sector. He cited sports infrastructure as an example, arguing that quality stadiums could support a wider entertainment economy by hosting concerts and major events.

He also pointed to opportunities for artistic collaborations between Kenya and the United States, noting that investors would need convincing business cases and credible prospects of returns before committing capital.

For Kahiu, the film industry’s challenge is not a shortage of talent but inadequate financing and distribution systems.

She said filmmakers often seek funding outside Africa, potentially giving external financiers significant influence over the stories produced and how they are told. Without reliable distribution channels, even strong productions can struggle to generate sustainable revenue.

Kahiu cited South Korea’s investment in its cultural industries as an example of how sustained support can help television and music products reach international audiences. She also questioned whether Kenya’s tax and investment frameworks adequately recognise film and music as export industries.

She urged the private sector to invest more in creative businesses and challenged Kenya to consider how it could compete with established production destinations such as South Africa and Morocco.

McKenzie echoed the need for a commercial ecosystem that allows talent to translate into earnings. He identified three priorities: a business environment that enables artists to earn from their work, strategic international collaborations and evidence that creative products can attract audiences and generate revenue.

He cited Rema’s “Calm Down” collaboration with Selena Gomez as an example of how partnerships can introduce African music to wider audiences.

Across the discussions, participants called for stronger financing mechanisms, effective intellectual property protection, better distribution networks, export support, improved infrastructure and international partnerships that create commercial opportunities.

One proposal was to establish a creative economy committee within the Chamber of Commerce to provide a platform for sustained engagement between government, industry players and investors.

Ndambuki welcomed the inclusion of the creative economy in the Chamber’s trade and investment agenda, saying the next step should be to formalise engagement around exports, investment and the business environment.