NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

Craig Kallman appointed Chief Music Officer at Warner Music Group

10 Dec 2025 - 08:05

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Warner Music Group (WMG) has appointed long-serving A&R executive Craig Kallman as its Chief Music Officer. He will be based in New York and report directly to WMG CEO Robert Kyncl.

Warner Music Group chief music officer Craig Kallman.

WMG said the role will see Kallman apply his “deep A&R expertise” across the company’s global artist roster and label group. The appointment follows nearly 35 years at Atlantic Records, where he served as Chairman and CEO for two decades before becoming Chief Music Officer at Atlantic Music Group in 2024.

Kallman will also continue signing artists to Big Beat, the label he founded in 1987, which has been part of WMG since 1991. Under the revised structure, each Big Beat signing will be supported by one of WMG’s US labels, Atlantic Records or Warner Records. His first signing in the new role is producer and artist Elkan, known for co-producing Drake and PartyNextDoor’s track NOKIA. Elkan’s debut EP, The Baby Bundle, will be released on 12 December via Atlantic Records.

Kyncl said: “Craig has helped shape the sound and direction of modern music, leaving a lasting imprint on artists, fans, and the industry at large. With decades of experience working at the highest level with the biggest stars, he will be an invaluable creative force and deep resource in his new post… helping drive and support A&R strategy and artist development across WMG, signing exciting new talent, and collaborating with our label leaders to bring bold, original music to the world.”

Kallman said he was “deeply grateful” for his time at Atlantic. “I’ve had the privilege of contributing to the careers of so many remarkable artists. It’s been great seeing Elliot [Grainge] take the helm and open a bold new chapter in the label’s illustrious history,” he said.

“I am excited to take on this new role and work alongside our outstanding A&R teams around the world, while reimagining the Big Beat brand as a force across genres. As my first signing, Elkan is a statement of intent, which underscores my commitment to nurture and champion extraordinary, trailblazing talent.”

Long career at Atlantic Records

WMG described Kallman as a long-standing creative driver at Atlantic, noting his contributions to artists including Bruno Mars, Cardi B, Death Cab For Cutie, Lizzo, Wiz Khalifa, Kodak Black, Shinedown, Lil Uzi Vert and Janelle Monáe. He has also overseen major soundtrack successes, including Hamilton, Dear Evan Hansen and The Greatest Showman.

Kallman’s production credits include co-producing Cardi B’s chart-topping I Like It, the first track by a female rapper to surpass one billion Spotify streams.

He entered the music industry in the 1980s as a Manhattan DJ before establishing Big Beat Records in 1987. After joining Atlantic in 1991, he signed and developed artists such as Aaliyah, P.O.D., Brandy and Timbaland. In 2002, he oversaw a partnership between Atlantic and VP Records, leading to the release of Sean Paul’s Grammy-winning Dutty Rock.

Kallman became Chairman and CEO of Atlantic Records Group in 2005, the year WMG listed on the New York Stock Exchange.

Approach to artist development

In a 2016 interview marking his 25th anniversary at Atlantic, Kallman emphasised the importance of stability and trust in A&R leadership. “Artists sign to people who believe in them, and they want to know you’re going to be there to fulfil the dreams you’re promising them,” he said. “You can’t do that if you’re jumping around to the next company for a bigger payday.”

He described Atlantic’s A&R approach as collaborative rather than competitive. “Everyone helps and contributes to each other’s records,” he said.

Kallman is also known for maintaining a vinyl collection of more than 2.2 million recordings. Speaking to Atlantic’s blog, he said his interest in vinyl stemmed from its “superior sound quality”. “Listening to something on vinyl or hi-res can be a real revelation,” he said. “The enjoyment I get from vinyl or hi-res recordings led naturally to my pursuit of striving for sonic excellence in all our artists’ recordings.”

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