RECORDED MUSIC INDUSTRY OVERVIEW
South Africa
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.
Coming soon
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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.
61,020,221
EXPLANATORY NOTES: Data via World Bank Development Indicators database. Accessed 24/10/2024.
$865,402
EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 02/04/2025.
$6,022.50
0.70%
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.
63.0%
EXPLANATORY NOTES: Data via IMF World Economic Outlook. Accessed 01/04/2025.
4.50%
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.
68.82%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
27.99%
EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.
49.10%
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.
20.49%
EXPLANATORY NOTES: Data via International Telecommunication Union (ITU) DataHub. Accessed 31/03/2025.
75.70%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
36.60%
EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.
10.00%
EXPLANATORY NOTES: Data via Cable.co.uk. Accessed 01/10/2024.
$1.81

Industry Infrastructure
Collective Management Organisations
Authors & Publishers
Performers
Producers
Voluntary Joint Ventures & Umbrella entities for licensing users
None
Associations
Music Authors
Music Publishers
Music Performers
Sound Recording Producers/Labels
Other
Music Export Office
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
-
South Africa protects authors of works first published in the member country of a treaty that South Africa is a party, subject to the notice by the Minister, and authors of works in a country which is not party to a treaty to which South Africa is a party, based on reciprocity, subject to the notice by the Minister. South Africa, and works first published outside South Africa and simultaneously published in South Africa within 30 days.
Foreign authors enjoy protection concerning reproduction rights and performance rights.
South Africa has not introduced making available rights. -
Sound recordings are protected as works in South Africa therefore the same eligibility criteria as for works applies to sound recordings (phonograms).
South Africa extends the protection of rights of performers in respect of their performances (a) taking place, (b) broadcast without a fixation, or (c) first fixed in a member country of the Rome Convention, which by law grants in its territory similar rights to performers in respect of their performances in South Africa.
Qualifying foreign producers of phonograms enjoy protection concerning reproduction rights and performance rights, and performers are entitled to share of performance rights royalties.
South Africa has not introduced making available rights. -
“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 are domestic repertoire quotas for broadcasters which vary depending on the broadcaster type.
Public sound broadcasting services must ensure that "a minimum of 60%, increasing to 70% in the following year, of the musical works broadcast in the performance period consist of South African music.
Commercial sound broadcasting services must ensure that a minimum of 35% of the musical works broadcast in the performance period consist of South African music.
Community sound broadcasting services must ensure that a minimum of 80% of the musical works broadcast in the performance period consist of South African music.
Subscription sound broadcasting services must ensure that a minimum of 30% of its bouquets (packages of radio channels) consist of channels made up of South African music content.
The full text of the quotas may be found in Section 3 of the ICASA Regulations on South African Music 2016.
Digital Streaming Services
GLOBAL STREAMING SERVICES
REGIONAL STREAMING SERVICES
DOMESTIC STREAMING SERVICES
Key Risks and Opportunities
Risks
High income inequality, as reflected by the GINI index, along with elevated unemployment rates, indicates that a majority of the population has limited disposable income. This poses a risk to revenue generation from direct consumer spending on music and related services, hindering the growth of a sustainable market.
The relatively high cost of mobile data acts as a barrier to widespread online streaming, limiting the growth of the digital music market, particularly among price-sensitive consumers.
Non-ratification of the WCT and WPPT and the absence of the 'making available right' create a vulnerability for rights holders in the digital environment.
Opportunities
The government's stated focus on the cultural and creative industries signals a potential for future policy support and investment in the sector.
A large population and relatively high internet penetration present a significant potential market and provide a solid foundation for digital music consumption.
The South African Broacasting Corporation's (SABC) voluntary commitment to a high percentage of local music airplay offers a significant platform for local artists to gain visibility and potentially increase their earnings, driving demand for South African music.
The presence of IMEXSA, a dedicated music export office, offers a valuable resource for promoting South African music internationally and accessing global markets, creating opportunities for revenue diversification and growth.