African artists have played sold-out stadium shows in the UK, not because their music is necessarily being played on the radio there, but because people have been listening to and watching it on YouTube.and other streaming platforms the importance of user-generated content: fan-made dance videos based on their favorite songs, which are proving popular too.
It’s not all good news. collecting society’s perspective on a group of markets where there can still be headaches around rights and monetization.
The market is progressively growing. There is more and more traction, but legally there is a lot to address. The legal frameworks are still lacking in most of the African countries, and we even have to go back to the basics. The stakeholders: musicians, artists, creators, the professional environment, are not aware of authors’ rights in the digital field
They are obsessed with the master rights when it comes to monetization… and they don’t know that their works are generating authors’ rights in the digital world. So we need to explain and sensitize that to African creators, to let them know how it works. and also make sure that the platforms are playing fairly. We have noticed a lot of legal disputes between creators and telcos in Nigeria and Cameroon, for example. That means there is still a lot to achieve, to structure the market.”
One thing you have to have in Africa is resilience. If you think things are going to happen in the next three or six months, you are a fool!” while streaming seems to be a positive path forward, the number of people who can afford $5-$7 a month for a subscription remains limited.
In Africa, the model is to unlock the three to four hundred million people by taking a few cents: by trying to monetize that interaction, because there’s so much consumption of music in Africa… I believe in the years ahead we’re going to see maybe another three or four hundred million [people] unlocking.”
Africa is the new gold mine, take your stand inside the ecosystem and contribute to its growth.
Think expansion each nation is developing its local market and industry once the local industry is strong enough to generate music revenue then exporting music into other African markets through continental collaboration and integration. , most countries use south African industry templates to fix their industry .what works in an African nation can work in any other African nation. the contrast is not every western system can work in the African music territories .reason why companies coming into the Africa music industry need people on the ground with a high level of African music industry experience.
Generally speaking, the price of data in South Africa is 4.4x the price of data in the US. In Nigeria, 3.9 times. And this is a base of the population where the income is lower… It’s clear the demand is there, it’s clear that music is one of the core use cases for the internet in societies of all kinds where music has always been fundamental. So the question is in the short run – because, in the long run, I believe the telcos will start to see a high-volume low-margin business as important to them – in the short run, how can people meet their interest in consuming music with new digital tools?”
back to authors’ rights, and Sacem’s campaign to ensure that music creators are getting a “fair share” of the digital royalties from streams and downloads of their songs across Africa.
We need to make sure that right now, what is available is already making money and providing a living to our creators. That’s why stakeholders already signed some deals with the likes of YouTube and Facebook, which are key platforms on the continent,”
Even if for the moment the money is still low, we are already anticipating, and already setting up to make sure that tomorrow, when the market will be bigger and more attractive copyright-wise, everything is already set up. Right now, African creators must get their fair share back: it’s very very important.”
By: Rene Immortal Matik (RIM)