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

Qobuz records rapid growth as streaming users explore alternatives

05 Jun 2026 - 11:26

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Music streaming platform Qobuz is reporting a sharp rise in users and subscribers, positioning itself as one of the fastest-growing services in the digital music sector amid increasing competition in the streaming market.

Qobuz managing director for North America and Northern Europe Dan Mackta.

According to data from SimilarWeb, the France-based high-resolution audio platform was the second fastest-growing music and media app in the United States in 2025, and ranked third in the United Kingdom over the same period. The company has also confirmed that it has surpassed 1.2 million monthly active users, alongside a significant increase in paid subscriptions.

The growth comes as major streaming platforms continue to face scrutiny over pricing changes and service models. Industry observers suggest that some users are moving away from dominant services such as Spotify, with Qobuz identifying a pattern of account cancellations following Spotify’s annual “Wrapped” summaries.

Qobuz managing director for North America and Northern Europe Dan Mackta said the platform has noticed a rise in users switching services after reflecting on their listening habits. He noted that a noticeable portion of new users appear to be former Spotify subscribers.

However, the company says the growth extends beyond so-called “Spotify refugees”, with broader interest coming from diverse listener groups, including high-profile public figures and dedicated fan communities.

Qobuz has also benefited from increased attention to its high-resolution and lossless audio catalogue, which has attracted listeners seeking higher-quality downloads as well as streaming options. The platform has additionally seen engagement from K-pop fan communities, particularly around downloadable and collectible music formats.

A key part of Qobuz’s positioning is its emphasis on artist remuneration transparency. The company has published its per-stream payout data, stating that rights holders receive close to $19 per 1,000 streams, a figure it says is significantly higher than competitors. While comparisons with other services vary depending on measurement methods, Qobuz maintains that its model is designed to offer stronger returns to rights holders.

Mackta has also highlighted the platform’s approach to music discovery, which relies on human curation rather than algorithm-driven recommendations. He said users have responded positively to editorial selection, describing it as a return to more traditional forms of music discovery. “It’s almost so quaint; ‘Wow, humans picking music’. Well, it turns out a lot of people love that,” he said.

The company has also taken a cautious stance on artificial intelligence in music curation and production. It says it identifies AI-generated tracks, excludes them from editorial playlists, and does not use user data to train external AI systems. Qobuz has also committed not to produce AI-generated audio content or replace its editorial teams with automated systems.

Alongside its streaming growth, Qobuz is expanding its partnerships, including a recent retail integration with UK independent record store chain Rough Trade, aimed at linking digital listening with physical music retail experiences.

Industry analysts note that switching between streaming services has become easier due to playlist transfer tools such as Soundiiz, potentially increasing user mobility across platforms. This could contribute to shifts in market share within the sector, which has remained relatively stable in recent years.

While Qobuz remains a niche player compared with larger competitors, it has outlined ambitions to capture a small but sustainable share of the global paid streaming market. The company says continued growth will depend on maintaining its appeal to listeners seeking higher audio quality, editorial curation and alternative approaches to mainstream streaming models.

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