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

US CD sales surge as physical music revenue grows in first half of 2026

02 Sep 2026 - 18:20

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CD sales in the United States rose sharply in the first half of 2026, outpacing vinyl growth and prompting renewed debate over whether the format is experiencing a sustained revival or a temporary increase driven by particular releases and consumer groups.

CD revenue rose 58.6% to $171.1 million, with 17.5 million units sold, representing a 45.7% increase.

According to figures released by the Recording Industry Association of America (RIAA), US recorded music revenue approached $6 billion in the first six months of 2026, while revenue from physical formats increased 25.9% year on year to $731.5 million.

CD revenue rose 58.6% to $171.1 million, with 17.5 million units sold, representing a 45.7% increase. Vinyl also recorded growth, generating $543.8 million in revenue, up 17.7%, from 26.5 million units, an increase of 20.9%.

The figures mark a notable change in the relative performance of the two formats. Vinyl has been the principal driver of the physical music market’s revival for much of the past two decades, but CD revenue and unit sales are currently growing at a faster rate.

Other industry data also points to increased demand for CDs. Citing Luminate’s mid-year figures, Hypebot reported that US CD sales increased by 16% in the first half of 2026 to 16.3 million units. The publication said the growth rate was several times higher than that of vinyl during the same period.

K-pop fandom has been identified as one factor behind the increase, with fans often purchasing multiple physical copies of releases. However, Hypebot reported, citing Luminate data, that CD sales continued to record high-single-digit growth after excluding the impact of K-pop buyers.

The resurgence is also being linked to younger consumers who grew up with streaming services. CDs are generally cheaper than new vinyl records, providing consumers with a relatively affordable way to own physical copies of music. The format has also gained an aesthetic appeal among some younger listeners, with commentators describing the practice of deliberately engaging with physical music formats as “performative audiophilia”.

The trend has coincided with renewed interest in CD players and other equipment among younger consumers, although it remains unclear whether this represents a lasting shift in listening habits or a broader interest in physical music and retro technology.

There are also reasons to be cautious about describing the current increase as a full-scale CD revival. Data from the RIAA for 2025 showed that annual CD revenue had declined to about $312 million, while vinyl revenue surpassed $1 billion. The longer-term performance therefore remains substantially stronger for vinyl.

The physical music market has also developed beyond listening, with vinyl increasingly functioning as a collectors' market through limited pressings, numbered editions and resale activity. Major physical music distributors have continued to invest heavily in vinyl-related products and collectibles, rather than shifting their strategies towards CDs.

The contrasting trends have raised questions about what is driving the latest increase in CD sales. Younger consumers' purchasing power, K-pop's physical sales culture and interest in retro formats could all be contributing to the growth, while lower CD prices may also be making the format more attractive at a time of economic uncertainty.

Whether the increase represents a sustained change in consumer behaviour will become clearer when full-year 2026 figures are released. For now, the data indicates that CDs are experiencing a significant increase in sales, but it does not yet establish that the format has overtaken vinyl as the leading force behind the revival of physical music.

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