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

Napster shuts down music streaming service to focus on AI assistants

05 Jan 2026 - 13:15

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Napster, the once-pioneering music streaming platform, has abruptly ended its music streaming operations following its acquisition by AI company Infinite Reality, signalling a significant shift in the company’s business model towards artificial intelligence.

Napster chief technology officer Edo Segal (pictured) said the shift reflects a new phase in the company’s history.

Users reported that the service cut off while they were actively streaming music, replacing the player with a splash screen stating: “Napster is no longer a music streaming service. We’ve become an AI platform for creating and experiencing music in new ways. That means the streaming catalog and playlists from the old app won’t work here.” The notice directed users to a playlist transfer tool provided by TuneMyMusic.

The company’s pivot to AI was widely anticipated after Infinite Reality purchased Napster for $207 million last year. However, the sudden shutdown of the streaming service has prompted frustration among long-time users. On Reddit, some expressed discontent with the move, while others had already migrated to alternative platforms. One user wrote, “I left months ago for another streaming music service after 14+ years on Napster. When they stopped paying artists for their songs and the artists pulled their music, I was done with them.”

Napster’s new focus centres on AI-powered digital assistants and creative tools. The company has launched Napster View, a combination of proprietary hardware and AI software currently optimised for Mac devices. An app-only version is available for a monthly fee and allows users to interact with animated AI personas designed to assist with tasks such as brainstorming, planning, and learning.

Edo Segal, Napster’s chief technology officer, said the shift reflects a new phase in the company’s history. “We think of this as another Napster moment,” Segal stated. “The last time Napster had that moment was when we really shook up the entire media industry. Now we’re in another moment like that, where AI is basically making all of us creators. We’re not just consumers of content, we can create content at a higher fidelity.”

Napster has also experimented with AI collaborations outside music, including an AI companion named Sofia in partnership with paint company Comex (PPG) Group, and an AI concierge kiosk called Napster Station powered by Microsoft Azure OpenAI. The platform also offers a “digital twin” feature, which allows users to create AI avatars linked to their LinkedIn profiles.

Despite the innovation, some critics caution that Napster’s AI tools are still in development. Nick Lucchesi of MakeUseOf noted that “the conversations can lag, the responses can feel sycophantic, and the eerie feeling you get while watching an animated mouth move in a way that’s not quite in sync with the audio really underscores that it isn’t ready to leave the Uncanny Valley quite yet.”

Napster’s transition raises questions about outstanding financial obligations, as performance rights organisations have previously alleged non-payment from the former streaming service. The company has not yet addressed how these liabilities will be settled.

The move marks a dramatic departure from Napster’s original role as a music streaming service, reflecting the growing influence of AI in creative industries and the company’s ambition to reposition itself as a platform for digital music creation and interactive AI experiences.

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