NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

News

Spotify explores AI music interaction amid licensing challenges

12 Feb 2026 - 08:50

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Spotify has signalled its intention to allow listeners to interact with their favourite artists’ music using artificial intelligence, though licensing issues remain a key barrier. The comments were made by co-CEO Gustav Söderström during the company’s Q4 2025 earnings call on 10 February.

Spotify co-CEO Gustav Söderström

Söderström outlined two categories for AI music on the platform. The first involves “net new” music created entirely with AI tools. The second focuses on AI-generated derivatives of existing music, such as covers and remixes. It is this second category that Spotify sees as the most promising for artists.

“Everything we see tells us listeners want to interact with their favourite music and many artists want to let them, creating new revenue from their existing catalogue,” Söderström said. “We have the technology and capabilities ready to unlock this in a way that is additive for both IP rightsholders and Spotify.”

He noted that the lack of an established rights framework has so far limited AI music largely to new creations. “The absence of a rights framework has kept AI mostly focused on… net new creation,” he said. “We want to work with the industry to fix that.”

Söderström added that Spotify is already collaborating with artists and industry partners to explore the opportunity. Co-CEO Alex Norström emphasised that the company would not pursue deals that are disadvantageous to artists.

The remarks come amid wider debate in the music industry about the distribution and monetisation of AI-generated content. Universal Music Group has favoured restricting AI-generated music to the platform on which it is created, a policy adopted in its settlement with Udio last October. Warner Music Group has taken a similar approach, although some agreements, such as its deal with Suno, allow users broader creation and download capabilities.

Söderström described Spotify’s approach as a middle ground. AI derivatives would primarily be accessed and monetised within the platform, where royalties can be managed and fans are already engaged. “If you’re an artist looking to unlock this potential upside, you’d want to do it on the world’s leading music platform,” he said.

On net new AI music, Söderström said Spotify does not intend to dictate the tools artists use. Instead, the company is focused on transparency, working with labels and creators to implement metadata standards and features that disclose how tracks are made.

Spotify has also addressed concerns about AI-generated spam. Söderström acknowledged that AI could accelerate the volume of low-quality tracks but said the platform has been investing heavily to manage spam. In the previous 12 months, Spotify removed more than 75 million spam tracks, while rival platform Deezer reports receiving roughly 60,000 fully AI-generated tracks daily, accounting for nearly 39% of its daily music intake.

The conversation highlights the growing intersection of AI technology, artist rights, and music streaming, as platforms seek ways to balance innovation with fair compensation.

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