When Tanzanian superstar Alikiba signed a five-year global deal with Sony Music Africa in 2016, it was a moment of pride across East Africa. Fresh from the success of Aje and at the height of his career, Kiba became the first East African artist to join the global label. His fans expected nothing less than international collaborations with Sony giants like Chris Brown or Davido, and a new era for Tanzanian music on the global stage.
But by the time Kiba left Sony in 2021, those dreams had faded. Rumors had it that he terminated his contract following disagreements over how his musical affairs were being handled. Despite winning the MTV Europe Music Award for Best African Act, the deal that was meant to propel him forward instead seemed to hold him back. Fans on the streets were thirsty for Kiba’s new sound, yet year after year, he would release only about two songs. The quietly spoken assumption among his followers was that the label was behind it — controlling not just his distribution, but his creative rhythm.
Kiba himself admitted on several occasions that he “wished so bad to quench his fans’ thirst,” leaving unsaid that it was the label’s restrictions that stopped him. For an artist whose success depends on consistency and connection, releasing two songs a year was not just bad for business — it was suffocating.
When he eventually founded his own label, Kings Music Records, after exiting Sony, everything changed. Finally free, Alikiba began releasing multiple songs each year, reviving his sound and reconnecting with fans. The difference was clear: when you own your music, you own your destiny.
The Price of a Global Deal: Fame Without Freedom
Alikiba’s story reflects a wider truth about how global record labels often treat African artists. They come promising international exposure and world-class management, but too often, the trade-off is creative control and ownership. Artists sign away their masters, face rigid release schedules, and must adapt their sound to fit global marketing formulas that rarely understand African audiences.
For many African artists, these deals look glamorous at first — but they can end up silencing the very voices that made them unique. The industry’s imbalance means that while African music drives global streaming numbers, much of the revenue flows back to corporate headquarters in New York or London, not Lagos or Dar es Salaam.
African Labels Leading the Way
Across the continent, homegrown record labels are rewriting this story — creating models that blend global ambition with local control.
Mavin Records, founded by Nigerian producer Don Jazzy in 2012, has become a continental powerhouse. Home to global stars like Rema, Ayra Starr, and Johnny Drille, Mavin invests deeply in artist development, mentorship, and innovation. Artists under Mavin don’t have to change who they are to succeed internationally — they simply amplify their authentic sound.
In Tanzania, Diamond Platnumz’s WCB Wasafi has built an empire around Bongo Flava music. Wasafi isn’t just a label — it’s a full ecosystem that includes media, management, and events. It empowers artists like Zuchu and Rayvanny to thrive while maintaining their creative and cultural identity.
And in Nigeria, emPawa Africa, founded by Mr. Eazi, represents a bold new vision. As Founder and CEO, Mr. Eazi established emPawa as a talent incubator to give back to the African music industry by nurturing emerging artists. It provides grants, mentorship, and global opportunities, helping artists like Joeboy, Fave, and Gyakie break through internationally while maintaining ownership of their music.
Beyond talent development, emPawa Africa operates as a full-fledged music enterprise — with its own publishing and licensing division, a streaming service (emPawa Music), and investments in music catalogues. It’s proof that African creativity can be managed, monetized, and exported from Africa itself.
Owning the Beat and the Business
These African-led success stories show that true global success doesn’t require signing away independence. African musicians can rise to international heights while staying grounded in their roots, their languages, and their stories.
Alikiba’s journey — from the restrictions of Sony Music to the freedom of Kings Music — is a lesson for the next generation. The future of African music lies not in foreign contracts but in African ownership.
The world already dances to Africa’s beat. Now, it’s time African artists own the rhythm, the rights, and the rewards.
