It spread Like wildfire and took the world by storm. From the streets of Johannesburg to monasteries around the world, from the youth of Luanda, the capital of Angola, to the mountains of Montego Bay, Jamaica, people of all backgrounds joined a global social media dance challenge – to the sound of Jerusalema, the hit song by Master KG and Nomcebo Zikode, two young South African artists.
The rhythm was captivating, the melody simple; and that simplicity and drive of the hit seemed made for a time of anxiety and uncertainty -amid COVID- when, despite or perhaps because of restrictions on movement and limitations on physical contact, people needed to connect; to feel together.
The song lent itself well to this collective entertainment movement – a sort of conga line dance, where dancers follow each other in a circle in a childlike atmosphere,” remarked Laurent Lalanne, once a Kizomba instructor in France in an interview with Africa Renewal.
Global acclaim
With its billions of users, TikTok played a crucial role in amplifying the hit through dance challenges.
Since then, the platform has become a springboard for young African artists such as the upcoming Tyla, as well as the more established like Burna Boy, Wizkid, and Tems. They are using digital technologies to reach global audiences.
Digital platforms strengthen the ability of young African artists to self-produce, conquer a global audience and create economic and employment opportunities on the continent.
Now, the continent’s urban music, with rhythms like Amampiano and Afrobeats, are spreading around the world.
The global rise owes its success to traditional approaches like extensive radio airtime, live concerts, and participation in international music festivals. Radio remains a dominant medium across much of the continent, helping artists build a strong domestic fan base. Likewise, live performances and tours connect with adoring audiences and create unique experiences with die-hard fans, while collaborations with DJs ensure the music reaches clubs and social spaces worldwide.
Still, at the heart of these approaches reside the digital revolution chains making it easier to produce, disseminate and consume music.
In those regards, Rema’s Calm Down, from the album Rave & Roses, was a huge global success in 2022, amplified by a remix with Selena Gomez that reached 3ᵉ place on the Billboard Hot 100 and dominated the U.S. Afrobeats chart for 41 weeks.
For her part, CKay made history with Love Nwantiti (2019), which, thanks to its multiple remixes, conquered worldwide charts and exceeded one billion listens on Spotify, becoming a global anthem.
In 2022, Libianca touched audiences with People, a ballad inspired by her struggle with cyclothymia, which dominated the charts in Europe and other regions, while raising awareness of mental health.
Burna Boy, already an icon, confirmed his influence with Last Last and On the Low, two international hits showcasing his unique Afro-fusion style.
Then, Fireboy DML’s Peru, featuring Ed Sheeran, and Oxlade’s Ku Lo Sa, illustrate the rapid rise of Afrobeats on the global music scene.
Digital streaming brings more revenue
Other platforms such as YouTube, Spotify, Apple Music, Deezer, Mdundo and Boomplay enable artists to produce, distribute and promote their music without going through traditional labels.
South African Amampiano figure Kabza De Small got his start by publishing his tracks on SoundCloud, illustrating how digital is lowering barriers to entry.
“I got a wider exposure, especially beyond the continent once I self-published on Spotify,” Togolese Jazz drummer, Kossi Mawun told Africa Renewal.
Revenues on the continent from digital streaming music are expected to reach $500 million by 2025, up from just $100 million in 2017, according to figures cited by the World Bank.
In 2023, IFPI, the International Federation of the Phonographic Industry, found that
Sub-Saharan Africa remained the fastest growth of any region and was the
only one to surpass 20% growth. Revenues, their latest report revealed,
climbed by 24.7%.
The increase was mainly due to growth in paid streaming revenues.
The trend in the continent’s urban music is illustrative of the dynamics of Africa’s creative industry.
Beyond music, digital in the creative industries directly benefits the next generation, of which the African Union and the OECD estimate that around 70% of jobs created benefit young people under 30.
The success of the music industry is stimulating related sectors such as events, tourism and fashion, including Ama Fest, the largest Amampiano festival in South Africa; and Afro Nation festival, a roving annual Afrobeats festival held in major cities around the world.
Despite the immense potential, access to a reliable digital infrastructure remains an obstacle for many artists.
Copyright
It’s not uncommon to hear lesser-known artists completely copying bass lines, riffs or beats, just changing the lyrics, melodies or language on their tracks. Online beatmakers easily accessible online are the reasons of the growing tendency.
To stem the tide, WIPO is offering CAPASSO, a pan-African initiative designed to manage the mechanical rights of music composers and publishers, by issuing licenses, protecting their works and collecting the revenues they are entitled to.
But as Kossi Mawun points out, digital technology is still an asset – you just have to know how to make the most of it. “Personally, it has helped me,” he says,” because as an independent artist, making not so much trending music, I first made my name on digital platforms.”
