The article discusses the ongoing conflict between Kenyan collective management organisations (CMOs) such as MCSK, KAMP, and PRISK, and the Kenya Copyright Board (KECOBO). The CMOs, responsible for licensing and royalty distribution, have faced criticism for corruption, mismanagement, and lack of transparency. KECOBO, empowered to oversee CMO operations, has taken actions including revoking licenses and commissioning audits that revealed financial risks and potential legal liabilities within the CMOs. The board also deregistered the CMOs for noncompliance. The article highlights the conflict of interest with KECOBO's chairman, Mutuma Mathiu, who is also the editorial director of Nation Media Group, and his actions that seem to favor broadcasters over rights holders. Additionally, the article raises concerns about the credibility of Liberty Afrika Technologies, a company involved in royalty distribution, and its CEO's connection to other controversial financial dealings. The music industry professionals in Kenya are calling for a music trade union and intervention from the Ethics and Anti-Corruption Commission.

The article reviews Alikiba's new album 'Only One King', highlighting its diverse themes and the artist's growth since his previous works. The album, which includes 16 songs, is said to retain the classic bongo flava sound while exploring a range of topics, primarily love. It features collaborations with artists like Abdukiba, K2ga, Tommy Flavour, Mayorkun, Patoranking, and Sarkodie. The review praises Alikiba's ability to maintain the authenticity of bongo flava music amidst criticism of the genre's mainstream evolution. The album is described as a collection of life lessons and a reflection of Alikiba's artistry, offering a mix of joy, warmth, and sensuality. The article also mentions the availability of the album on Spotify.

The article discusses the work of Batisso, a young Ethiopian music producer known for blending traditional Ethiopian sounds with electronic music. The writer highlights Batisso's debut album, which is seen as a continuation of the musical fusion initiated by jazz musician Mulatu Astatke in the 1970s. Batisso's work is described as meticulous and innovative, offering a new interpretation of traditional Ethiopian genres. The album features instrumental tracks as well as vocals that explore the azmari repertoire, with a mix of dub, psych-funk, and oriental sounds. The article also mentions collaborations with other producers like Timo and Yonzima, emphasizing the album's contribution to the evolution of Ethiopian music and its intersection with technology.

The article reviews H_art the Band's third album, 'Simple Man', praising it as the best Kenyan pop album of the year. The band, consisting of Wachira 'Skoko' Gatama, Mordecai Mwini, and Kenneth 'Kenchez' Muya, is recognized for their fashion sense and poetic lyrics. The album is noted for its mature perspective, tackling themes of love, loss, and life's ups and downs across six acoustically recorded tracks. The review highlights the title track's blend of poetry and music, the political tone in addressing gender-based violence in 'Wait for You', and the tribute to supportive mothers in 'Na Bado', featuring rapper Nyashinski. The album's production quality and conceptual flow are commended, marking a significant evolution from the band's previous works.