Thabo Malefane’s Sync Money makes the business of music licensing more accessible

Sync licensing involves granting permission for music to be used in films, television programmes, advertisements, video games and other visual media. It has become an important source of income for many music creators, yet the process remains poorly understood by a significant number of independent artists. Through Sync Money, Malefane breaks down the fundamentals of the sync business and encourages musicians to look beyond live performances and streaming when building sustainable careers.

For Malefane, understanding the business side of music is central to building a lasting career. He argues that artists often focus heavily on social media marketing, streaming numbers and public recognition while paying less attention to the different mechanisms through which music can generate income. “Most musicians think like artists,” he writes, highlighting what he sees as the need for creatives to develop a stronger understanding of the commercial systems surrounding their work.

At the heart of his approach is what he calls “Think Money”, a framework that encourages artists to view their music not only as creative work but also as an income-generating asset. He challenges musicians to consider who might pay for their work, how often it can generate revenue, how long those income opportunities can last and whether they are properly positioned to receive the money when it is generated.

“Who will pay for this, how many times will it pay, how long will it keep paying and how do I make sure I am in the system that captures that payment when it arrives?”

A personal setback played a significant role in shaping Malefane’s approach to the music business. Following an accident, he was forced to reconsider a career that had relied heavily on live performance and his abilities as a musician. The experience prompted him to explore production, publishing and sync licensing, areas that eventually became central to his professional development.

Malefane subsequently invested in creating music specifically for sync opportunities, recognising that building a catalogue and establishing the necessary rights infrastructure could take time before producing significant returns. Registering works and submitting the required documentation to collective management organisations (CMOs) became part of his strategy for developing longer-term royalty income.

One of the payments that left a lasting impression on him was an advance he received from the South African Music Rights Organisation (SAMRO) around the time of his mother’s death.

“That advance helped me bury my mother,” he said. Reflecting on the experience, he added: “That is why I do not speak about royalties lightly. Because in my life, royalties have not only been about statements and bank notifications. They have shown up in moments that mattered the most.”

For Malefane, Sync Money is intended to be more than an introduction to the mechanics of music licensing. He presents it as a practical guide for creatives willing to take action. “Read it like someone who is ready to act.”

The book draws on systems and practices Malefane has studied and applied throughout his career. Through his Mino Music catalogue, he has secured sync placements across platforms and productions, including work associated with FIFA and the National Lottery, as well as placements in film, television, advertising and streaming.

Across 15 chapters, Sync Money covers topics including Intellectual Property, music production pipelines, sync licensing, technology and AI-assisted composition, creative rights and policies, catalogue building and practical steps artists can take to develop their music businesses. The book is structured to give readers a clearer understanding of the processes involved in turning creative output into commercially viable assets.

Malefane’s advocacy for greater music-business literacy also extends to his podcast, Mino Black. The programme launched with an episode featuring Music In Africa Foundation founding executive director Eddie Hatitye and focuses on issues including ownership, copyright and the realities of working in South Africa’s music industry.

The podcast brings together artists, brand specialists and other creative professionals, particularly those working behind the scenes, to discuss practical experiences and case studies. In this respect, Mino Black complements the work of Sync Money by creating another platform through which creators can learn about the business structures that shape their careers.

At a time when musicians are increasingly looking for sustainable ways to earn from their work, Sync Money makes the case for understanding the commercial value of music beyond streams and live performances. By drawing on his own experiences, Malefane seeks to demystify sync licensing, royalties, publishing and rights management for independent artists.

His central argument is straightforward: creative talent may open the door to a career in music, but understanding the business behind the music can help artists build careers that last.

Contributions: Nikilitha Guda