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

Features

GoodGirl LA: A rising voice in Nigeria’s evolving music landscape

14 Nov 2025 - 12:41

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Nigerian singer-songwriter GoodGirl LA has been selected as Spotify’s EQUAL Africa artist for November, a recognition that highlights her growing influence within the continent’s music scene. Known for blending Afro-fusion, R&B and pop, she has steadily built a reputation as one of the region’s distinctive young voices.

GoodGirl LA.

Born in Lagos, GoodGirl LA began engaging with music from an early age, drawing inspiration from global pop and R&B icons including Michael Jackson, Whitney Houston and Britney Spears. This early fascination developed into songwriting during her school years, followed by an increasing interest in studio recording, production and performance.

Her national breakthrough came in 2021 through ‘Early Momo’, a collaboration with rapper Vector that gained widespread popularity and introduced her to a broader audience. Since then, GoodGirl LA has continued to expand her creative range, most recently with her 2025 EP Goodgirl, which explores themes of identity, vulnerability, resilience and self-expression.

The Spotify EQUAL Africa programme, which spotlights women shaping the future of African music, aims to provide support and visibility to artists across the continent. The initiative aligns closely with GoodGirl LA’s artistic outlook, particularly her focus on representing the experiences of women in contemporary Nigerian music.

Spotify spoke to the 28-year-old singer to learn more about her music:

SPOTIFY: What is that one surprising thing your fans might not know about you?

GOODGIRL LA: I spend a lot of time on Substack and Pinterest lol.

When did you realise that making music was in your destiny and what is your WHY for pursuing this craft?

I have always had a love for music, which existed subconsciously, as far back as I can remember. I used to imitate MJ, Whitney and Britney Spears songs and watch the performance videos my parents had. This grew into writing lyrics in class, being a studio rat, watching YouTube videos, and learning sound, visuals and just production in general. I’ve always had a love for the arts. My why is that I have been given a gift that I can express through art and I believe there is a life force in expression. Since we’re here to create the life we want, creativity is the raison d'être.

Which African songs or artists did you grow up listening to?

Asa, 2baba, Psquare, Wizkid and some Brenda Fassie - very rad times.

To someone who has never heard your music, how would you describe the sound, tone, and style?

I’d describe my sound as sexy, ambitious and beautiful. My style? Weird, avant-garde, and also an intersection between vintage grunge and Y2K.

Any advice for someone dreading following their dreams?

Things are bound to be imperfect, but you have to keep going regardless. We are conscious in this one life at the moment so why waste time being anything else than the badass you know you are? Life ain’t all roses, it’s a fight for a knife in the mud, but no matter how it ends, you fight for your dreams. Life is about creating. So you win, regardless, and hey, mud’s great for your skin, double whammy.”

How do you navigate the music space as a woman artist and how does your unique perspective shape your artistry?

I’m always focused on the music. I try to put my experiences in the music for the girls because they get it too. I also just think the energy of art made by women is infinite and I’m still drawing from the well of women who came before me. They also inspire me and reflect as a mirror sometimes in terms of vision, standards, and excellence in general.

A quote from you about your experience navigating the male-dominated world of music and what being a part of the EQUAL programme means to you?

It’s not just a male dominated world of music, it’s a male dominated world, but I’ll never be less of a human because my organs are different, not happening, girl. Also, being a part of EQUAL right now feels like perfect timing in light of the kind of music I’m putting out soon - more fearless expression and owning my vices, sensuality and steeze, regardless of the norms.

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