A group of musicians in hats and casual shirts playing instruments, such as trumpets and percussion, outdoors during the day.

RECORDED MUSIC INDUSTRY OVERVIEW


South Africa


World map highlighting Southern 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.


[+] RECORDED MUSIC POTENTIAL VALUEEXPLANATORY NOTES: TBC

Coming soon


[+] GROWTH POTENTIALEXPLANATORY NOTES: TBC

Coming soon


[+] INDUSTRY BAROMETER/CHANGE POTENTIALEXPLANATORY NOTES: TBC

Coming soon

Economic Impact

Over time, MEDI will conduct country-level economic impact studies to better understand how to unlock sustainable growth within national music ecosystems.


[+] DIRECT ECONOMIC IMPACTEXPLANATORY NOTES: TBC

Coming soon


[+] INDIRECT ECONOMIC IMPACTEXPLANATORY NOTES: TBC

Coming soon


[+] INDUCED ECONOMIC IMPACTEXPLANATORY NOTES: TBC

Coming soon


[+] JOBS CREATED BY MUSICEXPLANATORY NOTES: TBC

Coming soon


[+] VALUE OF MUSIC EXPORTSEXPLANATORY NOTES: TBC

Coming soon


[+] MUSIC EXPORT POTENTIALEXPLANATORY NOTES: TBC

Coming soon

Socioeconomic Indicators


[+] POPULATION2024 estimate


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


[+] GDP PPPmillions, 2023 data, using constant 2021 international $


EXPLANATORY NOTES: Data via World Bank Development Indicators database. Accessed 24/10/2024.

$865,402


[+] GDP PER CAPITA (nominal)2023 data, USD


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%

[+] GDP GROWTH (annual %)2023 data


EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 01/04/2025.

[+] GINI INDEX2014 data


EXPLANATORY NOTES: Data via World Bank, Poverty and Inequality Platform. Accessed 19/09/2024.

63.0%


[+] INFLATION RATEAnnual % change, 2025 data


EXPLANATORY NOTES: Data via IMF World Economic Outlook. Accessed 01/04/2025.

4.50%


Pie chart displaying three segments: '0-20' at 36.4%, '21-40' at 31.7%, and '41+' at 31.9%.
[+] POPULATION BY AGE GROUP%, 2024 data


EXPLANATORY NOTES: Data via US Census Bureau International Database (IDB). Accessed 01/04/2025.

[+] URBAN POPULATION%, 2023 data


EXPLANATORY NOTES: Data via World Bank, using United Nations Population Division database. Accessed 24/10/2024.

68.82%


[+] UNEMPLOYMENT RATE2023 estimate


EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.

27.99%


[+] YOUTH UNEMPLOYMENT RATE2023 estimate


EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 04/11/2024.

49.10%


[+] POVERTY RATE2014 data


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%


[+] INTERNET PENETRATIONITU estimate, 2023


EXPLANATORY NOTES: Data via International Telecommunication Union (ITU) DataHub. Accessed 31/03/2025.

75.70%


[+] MOBILE MONEY ACCOUNT USAGEThe percentage of respondents who report personally using a mobile money service in the past year, % age 15+, 2021 data


EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.

36.60%


[+] CREDIT CARD OWNERSHIPThe percentage of respondents who report having a credit card, % age 15+, 2021 data


EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 01/04/2025.

10.00%


[+] MOBILE DATA COSTAverage price of 1GB data, USD, 2023 data


EXPLANATORY NOTES: Data via Cable.co.uk. Accessed 01/10/2024.

$1.81

Industry Infrastructure

Collective Management Organisations


Authors & Publishers

[+] EXPLANATORY NOTESRepresents collective management organizations covering mechanical and performance rights for musical compositions.

Performers

[+] EXPLANATORY NOTES Represents collective management organizations covering neighbouring/related rights for performers.

Producers

[+] EXPLANATORY NOTESRepresents collective management organizations covering neighbouring/related rights for producers.

Voluntary Joint Ventures & Umbrella entities for licensing users

None

[+] EXPLANATORY NOTESRepresents joint ventures and umbrella entities that exist to help streamline and manage licensing, often working to create efficiencies around licensing specific rights. For example, PPL PRS Ltd. is a JV between the UK’s two music licensing organisations – PPL and PRS for Music, that provides a streamlined music licensing service that allows businesses to obtain all the licenses necessary to play and perform music in public via a single point of contact.

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 Members

    This 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


[+] EXPLANATORY NOTESDomestic Repertoire Quota(s) referes to legislation and/or policies which require broadcasters to dedicate a specific % of music broadcast content to domestic/local/national artists.

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.