When the latest Global Music Report by the International Federation of the Phonographic Industry (IFPI) came out, the headline number was staggering: US$31.7 billion (about Sh4.13 trillion) in global recorded music revenue for 2025.
For the first time in history, the global music industry has crossed the US$30 billion mark; a milestone that signals not just growth, but a profound transformation of the global creative economy.
Yet beyond the glossy headline figure lies a more compelling narrative; one that hits closer to home for Kenyan creatives, producers, fans, and policymakers alike.
Buried within those trillions is a story of momentum, disruption, and opportunity, and at its heart is Sub-Saharan Africa.
A rising tide lifts African sound
Globally, recorded music revenues grew by 6.4 per cent in 2025, up from 4.7 per cent in 2024, with every region posting gains. This was not a localised surge; four regions recorded double-digit growth, signaling a broad-based expansion of the music economy.
Latin America led the charge with 17.1 per cent growth, but Sub-Saharan Africa followed closely, registering an impressive 15.2 per cent increase, pushing its total revenues to US$120 million (about Sh15.6 billion).
At first glance, that figure may seem modest next to global giants. But the raw dollar amount tells only half the story; the growth rate tells the future.
Sub-Saharan Africa is not just growing; it is accelerating. The IFPI, which serves as the voice of the recording industry worldwide representing more than 8,000 members, has been monitoring this trajectory.
Angela Ndambuki, the IFPI Regional Director for Sub-Saharan Africa, highlights the significance:
“Sub-Saharan Africa’s 15.2 per cent growth to US$120 million reflects a sustained and powerful upward trajectory for the region’s recorded music industry. It builds on several years of strong performance and highlights the combined impact of record company investment, the growing global influence of African artists, and increasing adoption of licensed streaming services across our markets. This is not just growth; it is the steady development of a more structured and sustainable music economy.”
This 15.2 per cent jump builds on years of steady movement, reflecting a region transitioning from an informal music scene into a structured, monetized industry.
For Kenyan artistes who have long struggled with piracy, limited distribution, and inconsistent royalty payments, this shift represents a system that is finally beginning to work.
The Engine room: South Africa and the East African evolution
Within the region, South Africa remains the dominant force, accounting for 78.1 per cent of total revenues following a 12.9 per cent growth in 2025. Its advantage lies in a mature ecosystem characterized by stronger copyright enforcement, established labels, and deeper integration with global markets.
South Africa serves as a blueprint, proving that with the right legal and commercial infrastructure, African music is a massive economic driver.
Across East Africa, including Kenya, the signs of growth are becoming visible. We see it in independent artistes racking up millions of streams and local festivals drawing international attention.
The ecosystem is evolving — albeit unevenly. The question is no longer whether Africa can compete on a talent level, but whether it can scale and, crucially, retain the value of its intellectual property.
Streaming: The great equaliser
At the centre of this transformation is streaming. Globally, streaming revenues grew by 7.7 per cent, pushing total streaming revenues past US$22 billion (about Sh2.86 trillion).
Today, streaming accounts for 69.6 per cent of total recorded music revenues worldwide, making it the most powerful force shaping the industry.
Subscription streaming led the charge, growing by 8.8 per cent. For artistes in Nairobi, Kisumu, or Eldoret, this has rewritten the rules. Success no longer depends solely on radio airplay or physical sales.
A song recorded in a home studio and uploaded today can reach listeners across continents by tomorrow. It is a democratization of access that allows talent to travel further and faster.
“Great music from incredible artistes, aided by record company partnerships and investment, is driving global growth – with more people than ever before paying to engage with it on paid streaming services worldwide.” IFPI CEO Victoria Oakley notes.
For Kenyan listeners, this also marks a behavioral shift. Music is no longer “owned”, it is accessed. Playlists have replaced albums, and algorithms now shape taste. Simon Robson, President, EMEA, Recorded Music, Warner Music Group emphasizes the global nature of this reality:
“Africa is a regional market where, when great music breaks, it truly goes global.”
This is the result of a perfect storm: youthful audiences, mobile-first consumption, and rhythm-driven music that resonates globally. Kenyan artistes are part of this wave, but while Nigeria and South Africa have mastered “global export,” Kenya is still working to fully crack the code.
AI: The Silent partner in the music revolution
While streaming dominates the headlines, artificial intelligence is quietly reshaping the industry. From beat generation to data-driven marketing, AI is becoming an indispensable tool. However, the industry is clear: AI must serve human creativity and not replace it.
Oakley explains: “Music is embracing the future, demonstrated by record company partnerships with generative AI developers who respect the rights of creators. They are partners that explore how technology can be harnessed to support and enhance creativity, not replace it.”
For Kenyan creatives, AI is a double-edged sword. It lowers production barriers but raises existential questions about copyright. Generative AI models often rely on datasets “scraped” from existing music without permission.
The consequences are already visible; in January 2026, Deezer revealed it was receiving over 60,000 fully AI-generated tracks every day. More alarming, up to 85 per cent of streams on AI-generated music were fraudulent in 2025, up from 70 per cent the previous year. This flood of synthetic content risks overwhelming platforms and diverting revenue from genuine human creators.
Threat of fraud
East African Journalists in Arts and Culture chairman Boniface Mwalii points out that the report is a call for local adaptation:
“The report highlights the influence of emerging technologies like artificial intelligence in the creative industries. It is a call to artists to be awake to the evolution that is happening and adapt their production and distribution processes to match this reality. As Kenya, we still have a lot to do to catch up with our regional peers like South Africa and the way to do that would be to leverage our comparative strength in the technology field.”
Kenya’s reputation as a tech hub positions it uniquely at the intersection of music and technology. However, as the industry grows, so do its vulnerabilities, specifically streaming fraud.
“Streaming fraud is theft, plain and simple,” Oakley says.
Adam Granite Chief Executive Officer, Africa, Middle East and Asia (AMEA), Universal Music Group elaborates on the damage, “Streaming fraud is a multifaceted problem for the industry. It takes real artistes’ revenue out of the royalty pool, reduces what record labels can invest in new talent and likely harms advertising effectiveness. It also clutters algorithms and worsens fans’ experience.”
For emerging Kenyan artistes, this is particularly damaging. In a system where every stream contributes to income, fraudulent “bot farms” can tilt the playing field. The report emphasizes the need for a coordinated response between platforms, distributors, and governments to enforce copyright and detect fraud.
The next phase for Sub-Saharan Africa will be defined by how it handles these technological challenges.
Angela Ndambuki says the path forward must be proactive, “As we look ahead, innovation will shape the next phase of this journey. AI presents exciting opportunities to expand creativity and unlock new revenue streams, but it must be anchored in strong copyright frameworks that protect artists and ensure fair remuneration. At the same time, addressing challenges such as streaming fraud and gaps in monetisation will be critical to safeguarding the value of music and ensuring that this growth translates into lasting benefits for creators across the region.”
This means growth alone is not enough. To ensure that the Sh4.13 trillion global pie benefits local artists, the industry must focus on ownership, innovation, and protection. Who owns the master recordings? Who captures the ultimate value of a viral hit? These questions will determine whether Africa’s music boom becomes a lasting success story.
The Sh4.13 trillion generated globally is not an abstract figure; it is the lifeblood of a system that Kenyan creatives are increasingly plugged into. For the broader Kenyan economy, it represents a creative sector with the potential to generate jobs and vital export revenue.
The Global Music Report confirms that Africa’s sound is no longer confined to the continent. It is the beat in the clubs of Berlin and the rhythm in the earphones of Tokyo.
But as the beats travel, the challenge lies in ensuring that the economic value follows the music back home. Africa is no longer the opening act. It is the main show and the world is finally listening.