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

Downtown CEO responds to UMG takeover concerns

03 Sep 2025 - 16:42

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Downtown Music chief executive Pieter van Rijn has published an open letter defending Universal Music Group’s proposed $775 million acquisition of the company, which is under investigation by the European Commission.

Downtown Music CEO Pieter van Rijn.

The Commission announced in April that it was preparing to examine the deal, and in July it confirmed that an in-depth Phase II inquiry had begun. A final decision is expected by 26 November. The regulator can approve the merger with or without conditions, or block it if competition concerns remain unresolved.

In his letter, van Rijn criticised what he described as “whispering campaigns of misinformation that we have seen pervade the public debate” surrounding the deal. He argued that “certain corners of the independent industry, most notably some of the very bodies entrusted to guide it, chose to overlook the clear benefits for their members that this merger offers”.

He continued: “As members of these industry bodies ourselves, we respect their position and mission, but the debate must be honest. It must be about facts, not agendas.”

Van Rijn said Downtown had received interest from other companies in the past but believed Virgin Music Group was the only partner aligned with its mission. “For the first time, we were presented with a partner who wanted to invest in Downtown, our team, and our clients,” he wrote. “For Virgin, it was about building on our offering, not just synergising it with their own.”

Van Rijn, who became CEO in 2024 after a decade leading Downtown subsidiary FUGA, also addressed concerns about data protection in the proposed merger. He said clients could expect “the same, if not expanded, industry-leading data protection and security they are used to now”.

He further emphasised that the independent sector is “a very broad and very global community” and argued that “it is impossible to speak on behalf of it in its entirety,” while defending Downtown’s record of supporting its artists and clients.

The European Commission stressed that the opening of its in-depth inquiry “does not prejudge the outcome of the investigation.”

Read the full letter below:

I first joined the music industry as an artist and songwriter. I signed my own record deal in 2004, straight out of University, during perhaps our industry’s most testing time. Then, like many of you, I watched vinyl sales fall and the digital revolution shake the sector. Since that time, we’ve all seen the needs of artists and the music industry change, perhaps more radically with every year that passes.

Music’s ability to transcend borders, genres, and time has grown while new revenue streams appear and others fade away. Like the Downtown team, many of you have tirelessly worked to protect and promote the rights of independent artists and songwriters as new challenges – and opportunities – appear on the horizon.

I’ve had the great fortune and privilege of leading two teams with independence deeply embedded in their DNA. When I joined FUGA in 2014, the label services and distribution space had already begun its ascent into the deeply competitive landscape that exists now. From our roots in Amsterdam, we’ve always looked outwards, and whether through my role as CEO at FUGA or my tenure on Merlin’s board, I’ve had the opportunity to work with or alongside many, many global partners to build a sustainable, equitable, and impactful environment for independent artists, songwriters, and music companies.

When FUGA was approached by Downtown, we saw a partner with the same vision of the future: one based on a shared philosophy of empowerment and flexibility. The Downtown team had always marched to the beat of its own drum, and in seeing a future based around services, we sought to create a full-service offering that was driven by the needs of our clients.

In an industry that often professes the need for customer-centric thinking but doesn’t always deliver it, we made it our mission statement. In 2024, I was honoured to be asked by Justin and Andrew to take on the role of CEO of Downtown Music, and since then, we’ve built on those foundations with a clear goal in mind.

I say all this not to reminisce about what we’ve created, but simply to underline the fact that everything we’ve done thus far has been deeply rooted in our vision; everyone at Downtown believes that all artists, creators, labels, and content owners should have access to high-quality standards of global music services that allow them to achieve their ambitions.

This belief has never changed, nor will it.

Since announcing the planned acquisition of Downtown by Virgin Music Group in December 2024, much of the conversation across the independent industry has centered on the acquirer. Yet, what often goes unrecognised is that Downtown has, time and again, been approached by companies interested in acquiring us. Each proposal had its merits. But none truly aligned with, or empowered, the mission that has always driven us forward as much as Virgin Music Group did.

When we started discussions with Virgin, we immediately saw a business that aligned with our own, not only in its philosophy but also in the complementary services that we offered. For the first time, we were presented with a partner who wanted to invest in Downtown, our team, and our clients. For Virgin, it was about building on our offering, not just synergising it with their own. It was about scaling up, not down, and offering more, not less, to our clients. As we have said since day one, together with Virgin, Downtown clients would be able to tap into a broader range of services, with more reach than ever before.

When we embarked on this journey with Virgin, we expected our potential partnership to be reviewed thoroughly, both by those who guide the industry and those who comment on it. We expected interest, curiosity, and possibly even concern from our clients about what the future held. But in almost all cases, they recognised the vast opportunity ahead of us all. It has been gratifying to see the trust and belief that our clients have in our team, in our offering, and in our proposal for the future.

The independent industry is a very broad and very global community. Despite many claims to do so, it is impossible to speak on behalf of it in its entirety. While independent artists, creators, and businesses offer audiences an unparalleled diversity of thought and creativity, they need partners who can open doors and unlock the potential of their music, who can facilitate their growth and provide daily opportunities to improve their impact. In Downtown, that partner is available to them, but through our collaboration with Virgin, we know we can offer even more. More resources, greater support, more innovative technology, all while not only maintaining, but actually building on, the great service levels, platforms, and the flexibility of our current offering.

While we recognise that questions around data protection and security are natural in the context of a transaction like this, it is worth underlining that Virgin, like Downtown, operates in a culture built on trust. And therefore, our clients can expect the same, if not expanded, industry-leading data protection and security they are used to now.

Certain corners of the independent industry, most notably some of the very bodies entrusted to guide it, chose to overlook the clear benefits for their members that this merger offers. As members of these industry bodies ourselves, we respect their position and mission, but the debate must be honest. It must be about facts, not agendas. The whispering campaigns of misinformation that we have seen pervade the public debate, and which seem aimed at undermining our longstanding and trusted client relationships, only serve to undermine the quality and integrity of the discussion. It’s disappointing to see how quickly some parts of our industry closed the door to rooms we – and others – helped build. Unfortunately, this approach has continued into the campaign that we see today, based on rumour rather than reality.

Not a day goes by that we don’t fight as hard as we have always done for the continuing trust our clients have placed in us. Nor do we ever take it for granted. And in the end, I look forward to a future that proves the opportunity ahead of Downtown, Virgin, our teams, and our respective clients to be as empowering as I know it will be.

Pieter van Rijn

CEO

Downtown Music

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