Nnamani Music Group is recruiting the architects of Africa’s next wave

In Africa, a new generation of music entrepreneurs is tackling one of the industry’s most urgent problems: building a sustainable middle class for artists beyond the headline acts. Their work is less glamorous than a sold-out arena show but far more critical for the future.

In the global music business, Africa is no longer an emerging market; it is a power centre. The ascent of Afrobeats and amapiano has been meteoric, a cultural and commercial phenomenon that has reshaped festival line-ups and global pop charts. Yet beneath the success stories of superstars like Tyla, Burna Boy and Tems lies a more complex reality. For thousands of independent artists in Africa and beyond, the gold rush has created a formidable gap between creative output and financial viability.

This is the infrastructure deficit: a space where global streaming platforms are ubiquitous, but the foundational mechanics of the music business remain opaque and inaccessible.

It is in this gap that a new class of industry architects is quietly at work. Among them is Nnamani Music Group (NMG), a Lagos-based company whose model is a direct response to this systemic flaw. The company’s inception stemmed from its founders – siblings Johnel and Nnamani Grace Odi – observing a recurring scenario: immensely talented artists uploading music directly online, their work effectively unmonetised due to unregistered copyrights, missing metadata and a fundamental lack of business structure.

What began as an informal effort to assist peers has since formalised into a multi-faceted music company offering publishing administration, licensing, distribution and artist management. NMG’s model is emblematic of a wider, necessary shift in the African music ecosystem. It eschews the rigid, long-term “360 deals” historically favoured by major labels in favour of flexible, service-based partnerships. This allows creators to engage the company for specific needs – be it global publishing registration or digital distribution – granting them a degree of autonomy rarely seen in a market where leverage has traditionally been scarce.

This work is unfolding against a backdrop of explosive yet precarious growth. In 2024, Nigerian artists collectively earned an estimated ₦58 billion (approximately $37 million) from Spotify alone – a figure that more than doubled from the previous year. Crucially, industry analysts note that independent artists accounted for well over half of that revenue. The paradox, however, lies in the unforgiving economics of streaming. With per-stream payouts often hovering at fractions of a cent, raw volume is not enough to sustain a career.

This reality informs NMG’s strategic focus on publishing and synchronisation – the placement of music in film, television and advertising. These revenue streams are where meaningful income is often generated, transforming a song from a simple digital file into a working intellectual property asset. Its catalogue, which includes collaborations with international acts such as Daine Steele and Jessie Hillel, is being built with this global licensing potential in mind.

This foundational approach has begun to draw external validation. In early 2025, co-founder Nnamani Grace Odi was featured by the Recording Academy as one of the key “Women Shaping African Music”. Such recognition is a nod less to commercial hits and more to the crucial, behind-the-scenes work of industry building. It underscores the company’s core philosophy: that the region’s artists do not require saving by foreign entities but rather need access to robust, transparent and locally owned infrastructure to achieve self-sufficiency.

Of course, the challenges are immense. Operating independently involves navigating inconsistent legal frameworks and intense competition for visibility in a saturated digital market. Yet NMG’s deliberate focus on what can be termed “the unglamorous essentials” – accurate royalty accounting, clear contracts and equitable splits – has earned it a reputation for stability in a notoriously volatile business.

As the global spotlight on Afrobeats intensifies, the narrative is shifting. The story is no longer just about the artists who break through, but about the ecosystem being constructed to support the ones who will come next. Companies like Nnamani Music Group represent the second, more critical phase of this musical revolution: the transition from a scene into a self-sustaining industry.

The future of African music is being secured not just on festival stages, but in offices where metadata is meticulously entered and publishing rights are diligently protected. It is the slow, essential work of ensuring the boom does not lead to a bust.

Esther Oluoma is an experienced writer from Nigeria. The views expressed in this article are hers and do not necessarily reflect the views of the publication.

Editing by Ano Shumba.