RECORDED MUSIC INDUSTRY OVERVIEW
Ethiopia
Africa
Potential Value of Recorded Music
MEDI aims to highlight music’s potential as a global economic asset by estimating its potential value worldwide—factoring in how it could grow if all countries had supportive institutions in place—such as adequate legislation, infrastructure, and policies—and achieved full market penetration. We are currently undertaking data collection towards establishing the potential value of recorded music in each country.
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Economic Impact
Over time, MEDI will conduct country-level economic impact studies to better understand how to unlock sustainable growth within national music ecosystems.
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Socioeconomic Indicators
EXPLANATORY NOTES: Data via UN Population Fund (UNFPA). Accessed 24/10/2024. 2024 estimate based on UNFPA World Population Prospects 2022 data.
129,719,719
EXPLANATORY NOTES: Data via World Bank Development Indicators database. Accessed 24/10/2024.
$354,604
EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 02/04/2025.
$1,272.00
6.50%
EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 01/04/2025.
EXPLANATORY NOTES: Data via World Bank, Poverty and Inequality Platform. Accessed 19/09/2024.
35.0%
EXPLANATORY NOTES: Data via IMF World Economic Outlook. Accessed 01/04/2025.
23.30%
EXPLANATORY NOTES: Data via US Census Bureau International Database (IDB). Accessed 01/04/2025.
EXPLANATORY NOTES: Data via World Bank, using United Nations Population Division database. Accessed 24/10/2024.
23.16%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
3.50%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
5.60%
EXPLANATORY NOTES: Poverty rate at $2.15 a day (2017 PPP) (% population). Data via Poverty and Inequality Platform, The World Bank. Accessed 16/04/2025.
26.98%
EXPLANATORY NOTES: Data via International Telecommunication Union (ITU) DataHub. Accessed 31/03/2025.
19.40%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
4.60%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
0.20%
EXPLANATORY NOTES: Data via Cable.co.uk. Accessed 01/10/2024.
$0.69

Industry Infrastructure
Collective Management Organisations
Authors & Publishers
Performers
Producers
Voluntary Joint Ventures & Umbrella entities for licensing users
None
Associations
Music Authors
Music Publishers
None
Music Performers
Sound Recording Producers/Labels
Other
None
Music Export Office
None
Joint Industry Body
None
Policies
Culture Policy/Strategy
Music Policy/Strategy
None
Legal Framework
Digital and Performance Rights Treaties
Other Treaties
National Copyright Legislation
National Treatment
-
Ethiopia protects the rights of authors whose works are first published abroad and also published in Ethiopia· within 30 days, irrespective of the nationality or residence of the authors.
Copyright law provides that protection is granted to works that are eligible for protection in Ethiopia by virtue of and in accordance with any treaty to which Ethiopia is a party. However, Ethiopia is not a party to any copyright treaty.
Qualifying foreign authors enjoy copyright protection in Ethiopia concerning reproduction rights, performance rights and digital exploitation of their works. -
Ethiopia protects the rights of performers and producers of phonograms by virtue of and in accordance with any treaty to which Ethiopia is a party. Ethiopia is not a party to any relevant treaty therefore the rights of foreign performers and producers of phonograms are not protected unless they qualify for protection under the conditions provided below.
Foreign performers enjoy protection if their performances take place in Ethiopia, are incorporated in protected sound recordings or have not been fixed in a sound recording but are included in protected broadcasts. Producers of phonograms. Ethiopia protects producers of phonograms whose sound recordings are first fixed or first published in Ethiopia (protected sound recordings). Qualifying foreign performers and producers of phonograms enjoy protection in Ethiopia concerning performance rights and digital exploitation of their performances and phonograms respectively. -
“National Treatment” refers to the assimilation of the treatment of foreign right holders to that of domestic right holders. It is a basic rule of most international conventions and mandates that foreign rights holders from contracting countries must receive the protection within any other contracting country as that country grants to its own nationals, ensuring equal rights under the scope of the relevant convention.
General national treatment obligations are set out in Article 5 of the Berne Convention and Article 2 of the Rome Convention, providing that the members of respective conventions must grant to each other’s nationals the rights provided in the convention. Berne Convention also extends the national treatment to “the rights which their respective laws do now or may hereafter grant to their nationals,” while Rome Convention members are not obliged to extend national treatment to the rights of performers and producers of phonograms which are accorded under their national law over and above the rights enshrined in the Rome Convention.
The criteria for eligibility for protection are provided in Article 3 of the Berne Convention and Articles 4 and 5 of the Rome Convention. With regards to national treatment of producers of phonograms, members of the Rome Convention may reserve the right not to apply either the criterion of fixation or that of publication of the phonogram.
As per WIPO, the total number of members to the key treaties above is as follows:
Berne Convention: 181 Members
Rome Convention: 98 Members
WIPO Copyright Treaty: 118 Members
WIPO Performances and Phonograms Treaty: 114 Members
TRIPS Agreement: 166 MembersThis is a high-level overview concerning national treatment of music authors, performers and producers of phonograms; for comprehensive and detailed provisions, refer to the laws of each country. The overview:
1) details only the criteria applicable to foreign rights holders, without including the broader set of qualification rules for domestic protection that do not concern them,
2) is limited to performance rights and digital exploitation of recorded music, including works and other protected objects:
- “Performance rights” include radio and TV broadcasting, public performance, and communication to the public,
- “Digital exploitation” includes reproduction rights, distribution rights, communication to the public and making available rights.
The term "based on reciprocity" used in the overview for some countries means that Country A will protect the works of authors or other right holders who are nationals of Country B that is not a member of treaties Country A is a party to, and whose works or other protected objects were first published outside of Country A, only if Country B offer similar copyright protection to Country A’s authors or other rights holders and works and other protected objects respectively first published in Country A.
The term "treaty" in the overview includes conventions and international agreements.
Music Consumption
Domestic Repertoire Quotas
Yes
There is a domestic repertoire quota for broadcasters requiring that "At least 10 percent of the annual broadcasting time or at least 10 percent of the programming budget of a broadcasting service licensee shall be used for domestic contents created by producers who are independent of broadcasters."
The full text of the quota may be found in Section 2(27) (domestic content definition) and Section 64 (quota provisions) of the Media Proclamation No. 1238/2021.
Digital Streaming Services
GLOBAL STREAMING SERVICES
REGIONAL STREAMING SERVICES
DOMESTIC STREAMING SERVICES
Key Risks and Opportunities
Risks
Low GDP per capita, combined with high poverty and inflation, means most people have very limited disposable income for non-essential spending. This restricts the potential for generating revenue from music sales and subscriptions in the short to medium term.
Weak intellectual property rights protection and country's non-accession to key international copyright treaties discourages investment in content creation and digital distribution models.
Very low internet penetration and minimal adoption of mobile money and credit cards hinder the viability of digital music business models. The reliance on cash-based transactions limits the potential for scalable online music distribution.
Opportunities
The GDP growth rate suggests an expanding economy, which may lead to increased disposable income in the future, although from a very low base.
A large and youthful population represents a potentially large future market, provided that economic conditions improve and digital infrastructure continues to develop.
The presence of both international, regional, and domestic streaming services—despite low current penetration—indicates a nascent digital music market with strong growth potential.
Ethiopia's unique and diverse musical heritage provides a strong foundation for creating compelling local content that can resonate domestically and, as the market matures, potentially gain international recognition.