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

Google acquires ProducerAI, brings team into Labs and DeepMind

25 Feb 2026 - 09:36

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Google has acquired ProducerAI, the artificial intelligence music creation platform previously known as Riffusion, integrating the start-up and its team into Google Labs.

The deal was announced on 24 February in a blog post by Elias Roman, senior director of product management at Google Labs.

The deal was announced on 24 February in a blog post by Elias Roman, senior director of product management at Google Labs. Roman described ProducerAI as “a creative collaborator” that enables users to “turn imagination into dynamic, comprehensive songs”.

According to a LinkedIn post by ProducerAI executive Kendall Rankin, the company’s full team is expected to join Google across both Google Labs and Google DeepMind.

The acquisition follows Google’s launch of Lyria 3, which it has described as its most advanced generative AI music model to date. The model was recently introduced in the Gemini app, allowing users to create music from text prompts or images.

Under Google, ProducerAI will operate using a preview version of Lyria 3 for music generation, Gemini for its chat interface, Google’s Nano Banana model for album artwork, and Veo for AI-generated music videos. All outputs are embedded with Google’s SynthID watermark to identify AI-generated content.

ProducerAI co-founder and chief executive Seth Forsgren told The Verge that the team is “just scratching the surface of what these models are going to be able to do once we harness everything that Google brings to the table.”

Roman said the platform differs from other AI music tools because of its conversational design. “It’s not a tool that you put in your prompt, roll the slot machine, and something will come out. The reality is that’s not how good music is made… and ProducerAI was really made for the back-and-forths that play out over time,” he said.

Founded by Forsgren and Hayk Martiros, ProducerAI began as an open-source hobby project called Riffusion, which went viral in December 2022. The start-up raised $4 million in seed funding in October 2023 in a round led by Greycroft, with participation from South Park Commons and Sky9. Electronic music duo The Chainsmokers joined as advisers.

The platform relaunched in July 2025 under the ProducerAI name, initially using its own proprietary model.

Alex Pall of The Chainsmokers said: “We are so grateful to see how this platform continues to evolve. It’s truly crafted around the musician’s experience. The founders are incredibly technical, but natively musicians, and understand the nuances of what makes a platform truly be an additive tool in the creation process.”

Google said it has also collaborated with artists through its Music AI Sandbox, a suite of experimental tools developed with DeepMind and YouTube. Grammy-winning artist Wyclef Jean is among those who have used Lyria as part of his creative process.

In his blog post, Roman said: “As we continue to build ProducerAI at Google, we will be laser-focused on creative control for artists, including through features like Spaces, which allows artists to use natural language to create completely new instruments, effects, and more.”

The acquisition comes as Google increases its activity in artificial intelligence. The company recently entered into a licensing arrangement with voice AI start-up Hume AI, bringing in its chief executive and senior engineers.

ProducerAI joins a generative AI music market characterised by rapid investment and legal scrutiny. One of the sector’s largest companies, Suno, raised $250 million in a Series C round in November at a reported valuation of $2.45 billion, with annual revenue said to have reached $200 million.

Suno reached a settlement with Warner Music Group in a copyright dispute and entered into a licensing partnership, but continues to face infringement lawsuits from Sony Music and Universal Music Group, as well as European rights organisations including Koda and GEMA.

Earlier this week, a coalition of artist representatives published an open letter urging the music community to “Say No to Suno”, describing the platform as a “brazen smash and grab” that “floods platforms with AI slop and dilutes the royalty pools of legitimate artists”.

Google has not disclosed detailed information about the training data used for Lyria 3. In a recent blog post, the company said it has sought to “develop this technology responsibly in collaboration with the music community” and has “been very mindful of copyright and partner agreements” in training the model.

Industry publication MBW reported that the training data is understood to include music that YouTube and Google “have the right to use” under their terms of service, partner agreements and applicable law.

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