In today’s digitized music world, streaming has become the primary way listeners consume music and artists share their work. With platforms like Spotify, Apple Music, Boomplay, and Audiomack offering near-instant access to global audiences, the perception is that any artist, anywhere, can now earn a living through streaming. But as Tems’ manager, Muyiwa Awoniyi, recently pointed out, the reality for African artists is far from equitable.
In an eye-opening statement, Awoniyi revealed that one million streams on Spotify in Nigeria generates around $300, while the same number of streams in Sweden could earn up to $10,000. This stark disparity highlights a deeper issue within the global streaming economy—payments are heavily influenced by geography, with artists in developing markets receiving a fraction of what their peers in wealthier nations earn for the same volume of plays.
This isn’t a new concern for Nigerian artists. In April 2025, Afrobeats megastar Burna Boy echoed this sentiment in a candid post on Instagram. He lamented that being number one on any streaming platform in Nigeria was not worth celebrating, explaining that 1 million streams from Nigeria earns an artist just $300 to $400, whereas the same count from countries like the U.S. or the U.K. brings in $3,000 to $4,000. He went on to call for greater awareness about the real value of streaming success in African contexts, implying that many fans and even artists misunderstand what it truly means to “blow” in the digital era.
The reasons behind this income gap are rooted in regional advertising rates, currency values, subscription models, and platform policies. Platforms like Spotify pay out based on revenue generated in a particular region. In high-income countries like Sweden or the U.S., where users pay more for subscriptions (about $11-14/month) and advertisers pay a premium to target listeners, artists earn significantly more per stream. Since advertising rates and subscription fees ($0.52/month) are lower in markets like Nigeria, the per-stream payout is also significantly reduced. Additionally, many African users consume content through the free ad-supported versions of streaming services, which yield even less revenue for artists than paid subscriptions.
This leaves a tough choice for African musicians: either break into international markets where streams pay better, or find alternative ways to monetize locally. For most, the latter is a necessity. It also brings up the question of whether Africa should continue to rely on Western platforms or work toward creating tailored, Africa-first solutions that allow artists to benefit more fairly from the value they create.
While streaming has opened doors for global exposure, it’s clear that visibility does not always equal viability. Being able to say that one’s song is topping charts or amassing millions of streams is a great branding tool, but if those numbers don’t translate into sustainable income, the benefits remain superficial.
Moreover, this territorial disparity raises concerns about the long-term development of Africa’s creative economy. Without fair compensation, artists are unable to reinvest in their craft—whether through higher-quality production, marketing, or live performances. This stifles growth, talent development, and the continent’s ability to retain its creative workforce. The dream of building a thriving music industry in Africa cannot depend solely on global streaming platforms whose payment structures are skewed against emerging markets.
Some innovative alternatives are beginning to surface. Initiatives like Audiomack’s monetization program in Nigeria, and the rise of blockchain-based music platforms, offer glimmers of hope. Direct-to-fan platforms, brand sponsorships, and fan-powered royalties are also being explored by artists who refuse to rely solely on streams to pay their bills.
That said, policy support and pan-African collaboration are crucial. Governments, tech entrepreneurs, and industry stakeholders must come together to build infrastructure that values and compensates African artistry properly. Whether it’s through local platforms, favourable licensing agreements, or financial literacy programs for artists, the need for strategic reform is urgent.
As Burna Boy and Muyiwa Awoniyi highlight, Africa is a cultural powerhouse, but it continues to be underpaid in the global digital economy. Until this imbalance is addressed, the continent’s artists will continue to face a situation where they create global hits—only to earn local peanuts.
The world may be listening to African music, but it’s time the world also paid fair value for it.
