AFRICA: THE NEXT GLOBAL MUSIC OPPORTUNITY · 2018-01-15 · Opportunity Knocks: After more than 20...

JULIANA KORANTENGEditor-in-ChiefMediaTainment Finance (UK)

AFRICA: THE NEXT GLOBAL MUSIC OPPORTUNITY

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TABLE OF CONTENT

1. Overview

2. African Artists to Know

3. Statistics


5. Copyright & Piracy


7. The Streaming Solution


9. What the Experts Say

For understandable, but not necessarily justifiable, reasons,

Sub-Saharan Africa (referred to as Africa in this report) has

been the scourge of the international recorded music

industry for decades.

Africa is a vast continent that has delivered comparatively

little financially in return for investments.

Copyright protection, as agreed by treaties internationally,

has been almost non-existent in practice. Fiscal

infrastructures for securing revenues have been constantly

unpredictable.

INTRODUCTION

But in the 21st century, the era of digital tech, social media

marketing, mobile apps and streaming distribution,

opportunities are opening up for African and international

rights music holders in the region.

Via specialists’ opinions and research findings, this report

will show Africa is ready to be the next international music

market to do business in.

Just as African athletes, especially those in football and

track-and-field, have proven the region is able to punch

above its weight in the global sector, a new generation of

African music acts and entrepreneurs is surfacing to do the

same.

INTRODUCTION

This exclusive Midem white paper…

**illustrates the emerging income-earning prospects and business opportunities;

**lists statistics confirming Africa as fast-growingeconomic territory;

**looks at the improved rights-protection that has comewith mobile distribution and streaming platforms;

**highlights the African artists generating global buzz;

** explains why there is more to the local music marketsthan the established giants of South Africa and Nigeria;

**and features exclusive interviews with on-the-groundexperts sharing their experiences.

INTRODUCTION


1. Overview

Many are predicting the world’s next global music star or hit could come fromSub-Saharan Africa. And that view might not be too far-fetched.

Did you know South African telecom behemoth MTN Group generated a reported$70m from its pan-African subscription-funded streaming music service in the firstsix months of 2016 alone?

And CNBC reports that Nigeria, Africa’s biggest territory by population, releases500-plus albums annually. With the rampant piracy market, it is difficult to know howmuch income sales yielded. But accountancy giant PwC predicts Nigeria’s total musicsector should generate $86m by 2020.

The French division of international digital distribution outfit Believe Digital startedoffering video distribution deals to local African indie labels in 2016. The companyfelt confident to make that move thanks to the growth in local-music catalogues, thegradually increasing Internet and digital media penetration, and the strong billinginfrastructures set up by telecom companies delivering music content as part of theirservices.

Africa: The Next Global Music Opportunity

“Sub-Saharan Africa population hit 1 billion mark in 2015; predicted to grow to

2.6 billion by 2060.”

It is almost impossible to prove the extent to which such developments ensure rightsowners get their fair share of revenues generated.

But they confirm what has been known for decades: Africans are among the mostprolific creators and consumers of popular music. Music is being playedeveryday, round-the-clock, at home and at work, at birthday parties and graduationcelebrations, at schools and churches, at weddings and funerals, on the street and atcorporate events.

African music is already popular worldwide. The global fame of veterans likeSouth Africa’s Miriam Makeba, Ladysmith Black Mambazo and Hugh Masekela,Nigerian Afrobeat pioneer Fela Kuti, Angelique Kidjo from Benin and ZimbabweanOliver Mtukudzi has raised international awareness of the region’s exceptionaltalent.

Another generation of equally influential stars singing hip hop, R&B, Afrobeat andnumerous indigenous sounds has since appeared. They include Davido, Efya,Cassper Nyovest, Sauti Sol and Lira.

But while recorded music industry has been a major economic asset for the past 50years in the West and other developed economies, it has suffered in Africa.


In the 1980s, the major multinational labels deserted the territory, apart fromSouth Africa. They had been demoralised by unpredictable economic policies,unstable political administrations, military rule and widespread piracy of physicalrecordings.

Copyright protection is weak as legislation is not enforced. Consequently, livemusic has been robust while recorded music and publishing have languished.

Yet, Zimbabwean veteran Oliver Mtukudzi has sold 700,000 units in South Africa viathe country’s biggest label Gallo Record Company and continues to do so from hiscatalogue.

And there is nothing to say why more cannot be achieved in a region rich in naturalresources, a youthful population, a rising educated middle class, an acceleratingadoption of digital media, and abundant potential for economic growth.


Opportunity Knocks:

After more than 20 years’ absence, the major labels are returning to Africa.Universal Music Group (UMG) and Sony Music Entertainment are expanding theirpresence there.

Last year, Sipho Dlamini, the former CEO of South African royalties collecting societySAMRO, took on the expanded role of managing director at Universal Music SouthAfrica and Sub-Saharan Africa (English-speaking) at UMG. The group has also beenserving French-speaking Africa from the Ivory Coast.

Also in 2016, Sony Music launched its first West African division in Nigeria’s leadingcommercial city Lagos.

Legally accessed streaming music is gradually winning over young fans whoconsider it preferable to owning physical recordings.

Among the popular streaming and downloads platforms offering both domestic andinternational recordings and videos are iRoking, Simfy Africa, Mdundo and Spinlet.International services include Apple Music and France’s Deezer (see StreamingSolution chapter for more details).


Social media networks like Facebook and YouTube plus messaging app WhatsAppare empowering African artists and labels to reach fans directly.

Telecom giant MTN Group joins several big-name brand owners like Vodafone,Unilever ad Coca-Cola to sponsor live music events and festivals. MTN is behindthe South African Music Awards, the CallerTunez Online Awards, talent competitionthe MTN Project Fame and the MTN Bushfire music and arts festival.

They enable local artists to generate income via sponsorship deals andmerchandise. The more successful ones use digital media to reach millions of fansamong the African diaspora worldwide as well as other international followers. Theyare able to promote sold-out concerts in London, New York, Los Angeles, Berlin orParis.

International hit makers, particularly those at the centre of R&B and rap, have beencollaborating with African acts, performing in the region or extending their personalmusic enterprises there. Chris Brown, Travis Scott, Ciara, Rick Ross, Solange, 50 Cent,Sir Paul McCartney, Mos Def and Jay Z are among the international names linked withAfrican ventures.


Advice to newcomers:It would be naïve to presume entrepreneurs from the West will find it easy to do business in Africa.

The only market surveyed in the annual sales report by IFPI, the global music industry’s trade organisation, is South Africa. It was ranked 19th in physical sales and 35th in digital sales in 2015.

There are other economic factors that would be foolhardy to ignore. About 41% ofSub-Saharan African citizens live in extreme poverty, according to the UnitedNations, while 20% of the region’s youth are unemployed. And literacy levelsand Internet penetration remain low in several countries.

Overseas investors continue to make the mistake of treating Africa as a single homogenous country. Its numerous countries are disparate in culture, geographical landscape and economic wealth.

Many entrepreneurs have had their fingers burnt as they fail to do the homework required when venturing into any new business. But this continent’s unique business culture is extraordinarily busy and growing.


Established music companies advise foreign investors to partner with a localregistered company who can handle the licensing and administration for musiccatalogues and offer regionalised label services.

And the effort can be worthwhile. As the domestic and international industryexecutives we interview for this White Paper emphasise, there is metaphoricalgold to mine in the African music industry.

If you have international repertoire to sell or are looking to boost your internationalcatalogue with original African sounds, you need to be on the ground working hardto access the potential treasures.

As Gallo’s Rob Cowling told Midem 2016 delegates: “There is money to be made;there are opportunities.You just need to align with the right people.”


Images for this White Paper: sourced from Africori, Gallo Record Company, Sheer Music, X3M and the media galleries of the artists with thanks. Cover design: jaykaymedia pix




Cassper Nyovest, South Africa (hip hop/motswako)

Label: Family Tree

D-Truce, Nigeria (rap/pop)

Label: X3M

Apple Gule, Swaziland (soulful pop)

Label: Gallo

Davido, US/Nigeria (Afropop)

Label: RCA/David Music Worldwide

Efya, Ghana (neo soul/jazz)

Label: Starboy Entertainment

The Graeme Watkins Project, South Africa (rock)

Label: Gallo


3. Statistics

• Africa Population: 1.2 billion

• Sub-Saharan Africa Population: 1 billion and forecastto reach 2.6 billion by 2060

• The region has the highest youth population in the world,with an estimated 70% of the citizens under 30 yearsold

• Internet Users In Sub-Saharan Africa: 335.5 million

• Mobile Internet penetration grows to 39% by 2020 from24% in 2015

• Of the 271 mobile-money services worldwide, 54% are inSub-Saharan Africa

STATISTICS

INSERT YOUR FRONT VISUAL

• Share of Internet Users With Feature Phones andSmartphones in Africa (total): 96%

• In Sub-Saharan Africa - 725 million unique mobilesubscribers by 2020, led by Nigeria, Ethiopia andTanzania

• In Sub-Saharan Africa - more than 500 millionsmartphones will be connected by 2020 (there arecurrently 400 million smartphones in the saturated USmarket)

• High-speed broadband penetration is expected to be60%-plus in four years (from about 20% today)

STATISTICS

• Facebook Subscribers in Africa (total): 146.6 million

• Digital TV homes in 2017 in Sub-Saharan Africa : 27.3million

• The region will have 68 million TV homes by 2020,representing only 38% of total households and indicatingvast room for growth

STATISTICS

SOURCES: United Nations; The World Bank; GSMA; The Economist; Internet

World Stats; Communications Authority of Kenya; Cable Channels Nigeria Ltd;

Digital TV Research




Grassy Park, South Africa (ska-blend)

Label: Gallo

Josh Wantie, South Africa (pop)

Label: Gallo

Kwesta, South Africa (hip hop)

Label: Urbantainment/Sony Music

Ladysmith Black Mambazo, South Africa

(mbube/isicathamiya) Label: Gallo

P-Square, Nigeria (R&B/Afro hip hop)

Label: Square Records

Oliver Mtukudzi, Zimbabwe (tuku)

Label: Gallo


5. Copyright & Piracy

Several African countries are signatories to international copyright treaties andconventions.

These include the Berne Convention for the Protection of Literary and Artistic Works,the International Convention for the Protection of Performers, Producers ofPhonograms and Broadcasting Organisations, the Geneva Phonograms Convention,the Universal Copyright Convention (Paris Treaty), the TRIPs Agreement, the RomeConvention and the WIPO Copyright Treaties.

Enforcing them in the developing African markets has been almost impossible.

However, anti-piracy policies have been yielding success in South Africa, wherethe battle against the illegal use and sale of music has been led by localcollective trade association RiSA (the Recording Industry of South Africa).

Another pro-active copyright organisation has been COSON (Copyright Society ofNigeria), which has been working with global trade body IFPI to pursue,collect and distribute sound-recording royalties in Nigeria.

CISAC, the Paris-based international umbrella organisation for the world’s collectingsocieties, says it had 33 African members by May 2016.





Praiz, Nigeria (R&B)

Label: X3M

Sarkodie, Ghana (Rap)

Label: Sarkcess Music

Sauti Sol, Kenya (R&B/soul)

Label: Penya Africa

Simi, Nigeria (R&B/afropop)

Label: X3M

Sammy, Nigeria (R&B/afropop)

Label: X3M


7. The Streaming Solution

Internet and mobile penetration is growing in Africa (see Statistics chapter), butit is remains far from universal.

Additionally, the vast majority of African mobile users are pre-paid customers. Thepricing for monthly subscriptions data remains unaffordable for most of them.Electricity power outages are common.

However, the poor quality of legacy landline telephones has seen consumers adoptmobile media very quickly. In fact, Sub-Saharan Africa is among the innovators ofmobile-payment systems, such as the internationally available M-Pesa originallyoffered in Kenya and Tanzania.

In Nigeria, the region’s most populous nation with the biggest online population, anestimated 38% of consumers purchase goods online. Moreover, many are migratingfrom standard feature-phone usage to smartphones.

That evolving digital culture is expected to benefit the music industry because itencourages consumers to pay for streaming content via their mobile phoneoperators and, hence, avoid pirated music.


iROKING is among the region’s popular streaming and download platformsdistributing domestic and international recordings and videos. It is part of theNigeria-originated iROKO Partners, which founded the venture capital-backedinternational streaming TV platform iROKOtv (the Netflix of Africa).

Other multi-territory streaming/downloads services include Simfy Africa and Mziiki.Also available are Kenya’s Mdundo and you have Spinlet and Orin in Nigeria.

International streaming-music giants, such as Apple Music and France-headquartered Deezer, are targeting African music fans, and Spotify is reported tohave plans to do so.

As Sony Music West Africa’s Michael Ugwu notes: “Once one of the internationalstreaming platform makes a move into a market, others follow and that creates avalidation for that market. Apple Music/iTunes’ Nigeria service started selling in thelocal currency last year. Before then, only its South Africa store sold music in the localcurrency. It does business in US dollars in the rest of Africa.”


Telecom operators, including South African multinational MTN, India-originatedBharti Airtel, UAE-headquartered Etisalat, France’s Orange and Nigeria’s GLO, offerdigital music as part of bundle packages and generate revenue via their billingsystems. These partnerships sell music tracks and related content, such as the in-demand ring back tones (RBT), Caller RBT, standard ringtones, online radio anddigital videos that mobile phone users purchase to personalise their calls and otherlifestyle choices.

Subscription-funded MTN Music+ boasts almost 4 million paying customers inAfrica. With 60% of its content international and 40% local African tracks, the serviceis available to MTN subscribers in about15 African markets.

Last year, MTN said it generated about $70m from its music services in the first sixmonths of the year. In South Africa alone, MTN reaches more than 30 million phonesubscribers, who have access to the music service.

Millicom’s Tigo and Orange are also forming partnerships with streaming-music brands. For example, Tigo Music has joined forces with Deezer in Ghana,Tanzania, Chad and Rwanda. Meanwhile, Tigo Music Senegal is available on theDeezer platform.


In the complex music business, the role of telecom companies has beencontroversial. With no access to the telecom firms’ accounting books, rights ownersare questioning whether they are getting a fair share of the fees paid by the mobile-music customers.

But the various parties have embarked on dialogues in an attempt to resolve theirdifferences.

As Sony Music’s Michael Ugwu observes: “Traditional physical piracy is diminishing,smartphone penetration is increasing, and the data tariffs telecom firms charge aregoing down. The deals with telecom operators have the potential to generatemillions for rights owners. Until now, it was only live performance and no onecared whether recorded music sold or not.”

He added: “Africans are very ambitious and today’s generation of entrepreneursrealise that the change begins with us, and technology has been the cornerstone of thatchange.”





Riky Rick, South Africa (hip hop)

Label: Makhado Makhado Agency

Tiwa Savage, Nigeria (R&B/afropop)

Label: Roc Nation

Vanessa Mdee, Tanzania (R&B/bonglo flava)

Label: Kult Records

Yemi Alade, Nigeria (afropop)

Label: Effyzzie Music Group

Lira, South Africa (R&B/afrosoul)

Label: Sony Music Africa; Shanachie Records

TITLE

9. What the Experts Say

Name: Yoel Kenan, CEO (based in UK/South Africa)

Company: AFRICORI

Music industry speciality: Distribution; Marketing; Licensing

What your company does: We have an office in London, Johannesburg and representatives innine (Anglophone) markets. We are also doing some business in Mozambique and Angola. Thenext phase is to open in Lagos and one of the East African markets.

Opportunities in Africa: London is a major hub for African music as are several major US citieslike New York. In our business, it is great to have direct flights from London to the continent. InAfrica itself, Lagos has become a strong hub. We’re seeing more business coming out of Lagos.The people have strong entrepreneurial skills and are ambitious. We offer clients an infrastructureto understand the environment and how it works and build trust with the different players in theecosystem.

Challenges: I have seen too many foreign companies looking for short cuts to do business in theregion. I don’t believe in that. Africa is not a sprint; it is a marathon and a long-haul investment, soyou need to understand the full DNA of the region. Also, it’s not easy to travel from one place toanother. And you are always at the mercy of something bigger, such as not being able to get themoney you’ve earned out of Angola, or Nigeria devaluing its currency by 300% almost overnight.

In addition to Nigeria and South Africa, Countries to Watch: The Francophone markets


Name: Rob Cowling, Label Services Manager (based in South Africa)

Company: GALLO RECORD COMPANY

Music industry speciality: Record label; Publishing

What your company does: Gallo Record Company is the largest and oldest independent recordlabel in South Africa and owns over 75% of all recordings made in the country. Its artists includeLadysmith Black Mambazo, Lucky Dube, Stimela, Mahlathini and the Mahotella Queens, MiriamMakeba and The Skylarks, and Hugh Masekela. Its sister company is Gallo Music Publishers,which is the African sub-publishing partner of Warner Chappell Music. Parent company TimesMedia Group owns Sub-Saharan radio stations across South Africa, Ghana, Kenya and Namibia.

Opportunities in Africa: South African artists are encouraged to tap into the copyright revenuestreams through song writing and through brand alignment, merchandise and sponsorships. Thebiggest opportunities and legitimacy of licensed services still remain in mobile-phone offeringsand mobile streaming apps. This enables the recording industry to reach mass numbers ofconsumers across Africa, thanks to the smartphone’s growth.

Challenges: To survive, many artists or band members have daytime jobs or full-timeemployment in other creative or corporate industries. Live-music revenue and public-performance revenue are necessary to supplement recorded income. South Africa also hasunique market problems such as illiteracy, limited access to the PC and Internet, broadbandissues and exorbitant data costs.

In addition to Nigeria and South Africa, Countries to Watch: Kenya; Swaziland; Uganda; IvoryCoast


Name: Dumisani Kapanga, General Manager (based in Nigeria)

Company: IROKO MUSIC

Music industry speciality: Streaming platform; Distribution

What your company does: iROKO Music operates iROKING, the African music platform that helpssubscribers discover and download African music easily.

Opportunities in Africa: International music is more aspirational and consumers like that. However, localmusic is relatable because it represents the environment in which people live in and tells stories they areaccustomed to. So while we may work with international players, our goal is to help spread the gospel ofAfrican music to the globe. And we’ve noticed a reverse trend. Global international labels such as SonyMusic are becoming a lot more active in the local space by signing up local artists, like Davido and TeknoMiles. So, instead of international labels bringing music into the local scene, they are now trying to signup local acts and promoting them globally. Nigerian music, which continues to carry the Afrobeats flag,features a number of artists known across Africa and the entire world. It’s not unusual these days to go intoa club in New York, London, Los Angeles or Havana and hear a Nigerian song being played. The entry ofinternational labels in Africa will help increase quality and competition, which will help the local playersto step up their game.

Challenges: The African music space is very fragmented and disorganised. There is a huge lack ofcoordination in terms of copyright rules, even with the more established labels. Unless, we solve theproblem of piracy, it will be hard for artists and record labels to make a good return on their investmentand it makes good economic sense to have a diversified strategy for monetisation. Some of the piracy isoutright illegal, but some of it is actually encouraged by the artists themselves. They give out free music toincrease their exposure and acquire fans. If this exposure is big enough, they can sell live shows and beinvited to endorse different brands.

In addition to Nigeria and South Africa, Countries to Watch: Kenya; Tanzania; Zimbabwe; Malawi;Zambia


Name: Jean-Louis Charlety,VP Games, Music, Culture & Infotainment

(based in France)

Company: ORANGE

Music industry speciality: Telecommunications; Streaming platform

What your company does: As a telecom company, we are present in many Sub-Saharan Africancountries, from Botswana, Burkina Faso, Cameroon and Ivory Coast to Niger, Democratic Republicof Congo, Senegal, Sierra Leon and Central African Republic. We offer music on servicesprovided by our streaming partners and on our own product Orange Radio. This free serviceoffers more than 20,000 radio stations worldwide and thousands of podcasts in Madagascar,Democratic Republic of the Congo, Cameroon, Ivory Coast, Guinea Conakry and Guinea-Bissau.

Opportunities in Africa: International investors can help spot local talents in order to promotethem. For example, the opening in 2015 of Universal Music’s West African subsidiary in Abidjancould be seen as a way to quickly propel new promising African artists on the international scene.The African market is growing and needs international investors to expand its offerings anddemocratise the new ways of consuming music too.

Challenges: The willingness to pay for music is very low due to a strongly developed piracyculture and the absence of a body to fight it. The price points for streaming music is clearlyinappropriate as pre-paid consumption accounts for more than 96% of the mobile marketcompared to paid-for subscriptions. In this context, finding a relevant pricing model can be avery difficult exercise.

In addition to Nigeria and South Africa, Countries to Watch: Senegal; Ivory Coast


Name: David Alexander, Managing Director (based in South Africa)

Company: SHEER MUSIC PUBLISHING

Music industry specialty: Publishing; Licensing

What your company does: Sheer Music Publishing has offices in Johannesburg, where all the strategy,copyright administration, creative licensing and royalties distributions are handled. It has joint ventureswith partners in South Africa that act on Sheer Music’s behalf in the acquisition of writers and copyrights.There is one representative in Nairobi, who looks after East Africa, another in Cameroon for CentralAfrica, and another in Ghana for West Africa.

Opportunities in Africa: South Africa has about 60 million inhabitants, has 11 official languages andEnglish is widely spoken. For commercial music, there are radio stations programming English-languagemusic, and the local-content quota on radio has recently gone up from 25% to 30%. So there is a gap forinternational music. But because there is not a diversity of radio owners and broadcasters, there tends tobe space for only songs that have been big in other territories such as the UK and US and Australia. Sothose are the ones earning income.

Challenges: Music publishing has struggled to gain traction outside South Africa and a couple of specificcountries as local collective management organisations (CMO) battle with low incomes and highadministration costs as a percentage of income. This has discouraged the economically active composersfrom becoming members as they receive the same income as songwriters with no broadcast activity inthe past few years. Reciprocal agreements between CMOs have not been adhered to and the potential ofthe market in Africa has largely been ignored due to the low returns that active participants havereceived. Instead, African writers with global success have become direct members of CMOs in Europeor the USA. Furthermore, due to the historical inequity of colonialism, many of the multinational musiccompanies are viewed as neo-colonialists, so African writers and CMOs are wary of having their rightsand money controlled by foreign companies.

In addition to Nigeria and South Africa, Countries to Watch: Kenya


Name: Michael Ugwu, General Manager West Africa (based in Nigeria)

Company: SONY MUSIC ENTERTAINMENT

Music industry speciality: Record label; Marketing; Distribution

What your company does: Sony Music Entertainment has been in South Africa for a while but itrecently set up the West Africa office in Nigeria. It has signed distribution deals with telecomgroups such as MTN, Etisalat and Airtel.

Opportunities in Africa: Fans’ willingness to pay for ring back tones (RBT) confirmed there wassome kind of legitimate music business emerging in Nigeria with content provided by domesticrecord labels that include Chocolate City Group and Empire Mates Entertainment. Sony Musicopened the Lagos office because of the success of Caller RBT, the growth of Nigerian musicinternationally and the increasing music-industry skillsets in the region. We’re planning to openoffices in East and South Africa to access other parts of the continent. Sony arranged apromotional tour for Jidenna (US star signed to Wondaland/Epic Records) in Nigeria and he wasjoined by (legendary label veteran) Sylvia Rhone and other Epic Records executives, who wantedto see the African market for themselves. They saw there was a lot of opportunity here. There is ageneration of African entrepreneurs who understand the need to set up businesses that aretransparent, scalable and sustainable, and the technology needed to make that happen.

Challenges: The major labels left Nigeria in the 1980s because of physical piracy, and thebusiness regulations were not favourable to foreign companies. Having local knowledge isessential today and you need long-running relationships with the telecom companies, localbrands and artists. Although physical piracy of CDs, cassettes and vinyl is going down, piratedcontent is being sold on memory sticks.

In addition to Nigeria and South Africa, Countries to Watch: Uganda; Tanzania; Kenya; Rwanda


Name: Nelson Ononiwu, Chief Operating Officer (based in Nigeria)

Company: X3MUSIC

Music industry speciality: Record label; Distribution

What your company does: X3M Music is an independent record label producing Praiz (R&Brecording artist), Simi (alternative music singer), Sammy (R&B act) and D-Truce (indigenous rapstar). It belongs to the X3M Ideas group of digital marketing, advertising and productioncompanies. A few X3M Ideas clients use the artists as brand ambassadors and influencers.

Opportunities in Africa: International investors can contribute positively to the growth of theAfrican music market. The five key markets are Nigeria, South Africa, Kenya, Tanzania and Ghana.African artists are consistently breaking new grounds and exporting their brand of music abroad.This gives them a big opportunity to make revenues from streaming music and from performingat big events and live concerts. They make more money overseas via recorded music, publishingand digital music. They have thriving live music careers locally, which connects them directly totheir fans and contributes to their bank balance.

Challenges: Piracy is a menace. Using Nigeria as a case study, most musical works there arepirated and sold on the streets because of the weak and ineffective legislation.

In addition to Nigeria and South Africa, Countries to Watch: Kenya; Tanzania; Ghana


ABOUT THE AUTHOR

Juliana Koranteng is the founder/editor-in-chief of MediaTainment Finance (MTF), thebusiness journal that covers investments in the international media, entertainment and creativesectors. As an international correspondent or editor, Koranteng’s works have appeared inBillboard magazine, Rockol.com, TIME magazine, the Hollywood Reporter, Advertising Age, theWashington Post, The Economist, UK and US national newspapers and and the daily magazinespublished by Boutique Editions at the annual MIPTV, MIPCOM and Cannes Lions events in Cannes.She’s also the author of several books and reports. She conceived, developed and sold New MediaAge, the UK’s leading digital-marketing publication, to Centaur Media, and has given speeches atinternational events and been interviewed by Forbes, the BBC, CNN and Bloomberg.MediaTainment Finance and sister title TechMutiny are published by JayKay Media Inc, theLondon-based media group that also includes a media consultancy, content creation, andphotography-design among its activities. @OutsidetheBoxMT @MediatainmentMT@TechMutiny

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AFRICA: THE NEXT GLOBAL MUSIC OPPORTUNITY · 2018-01-15 · Opportunity Knocks: After more than 20...

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