A person playing an electric guitar in a dark setting illuminated by small yellow and red lights.

RECORDED MUSIC INDUSTRY OVERVIEW


Tanzania

(United Republic of)


A world map highlighting the continent of Africa with a green square around the southern part of Africa.

Africa

Potential of Recorded Music

We estimate the potential of recorded music value available to songwriters, music performers, publishers, and producers in Tanzania . These are annual revenue levels achievable within a well‑functioning market supported by critical infrastructure, including robust policies, adequate legal frameworks, and effective collective management organizations and other enforcement mechanisms. By identifying these factors as the necessary drivers of growth, we quantify the opportunity cost of their absence.

The potential value calculations are based on CISAC, ICMP, and IFPI data. We used an econometric model and a cluster analysis approach to benchmark Tanzania against peer markets and reflect achievable collection levels given their unique socio‑economic contexts. We also factored in a series of foundational assumptions and collective rights management expertise to provide a stable and realistic valuation.


[+] RECORDED MUSIC POTENTIAL VALUEThe figure for the recorded music includes copyright (songwriters, lyricists and music publishers) and neighbouring rights (music performers and recorded music producers, i.e., record labels) and reflects the potential value in 2027. It is based on the analysis using 2023 as a baseline valuation and five-year projections through 2027. 2023 was selected as the baseline year of the analysis to reflect the most recent complete annual music industry revenue data. The following revenue streams are included in the calculation:

1) Copyright: digital, performance rights (radio & TV broadcasting, rebroadcasting & retransmission, background music and private copying levies), CD & video, synchronisation and other;

2) Neighbouring rights: Streaming, performance rights (radio & TV broadcasting, cablecasting, cable retransmission, public performance, dubbing, private copying levies, and internet (webcasting, simulcasting, catch-up) licensing), downloads & digital, physical and synchronisation.

Coming soon

Socioeconomic Indicators


68,560,157


[+] GDP PPPmillions, 2024 data, using constant 2021 international $


EXPLANATORY NOTES: Data via World Bank Development Indicators database. Accessed 15/01/2026.

$246,706


[+] GDP PER CAPITA (nominal)2024 data, USD


EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 15/01/2026.

$1,186.72


5.53%

[+] GDP GROWTH (annual %)2024 data


EXPLANATORY NOTES: Data via World Bank, using national accounts data, and OECD National Accounts data files. Accessed 15/01/2026.

[+] GINI INDEX2018 data


EXPLANATORY NOTES: Data via World Bank, Poverty and Inequality Platform. Accessed 15/01/2026.

40.5%


[+] INFLATION RATEAnnual % change, 2026 data


EXPLANATORY NOTES: Data via IMF World Economic Outlook. Accessed 16/01/2026.

3.50%


Pie chart showing age distribution with four categories: 0-20 years (54.3%), 21-40 years (27.9%), 41+ years (17.8%), and an unspecified category.
[+] POPULATION BY AGE GROUP%, 2025 data


EXPLANATORY NOTES: Data via US Census Bureau International Database (IDB). Accessed 16/01/2026.

[+] URBAN POPULATION%, 2024 data


EXPLANATORY NOTES: Data via World Bank, using United Nations Population Division database. Accessed 16/01/2026.

36.17%


[+] UNEMPLOYMENT RATE2024 estimate


EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 16/01/2026.

2.60%


[+] YOUTH UNEMPLOYMENT RATE2024 estimate


EXPLANATORY NOTES: Data via CIA World Factbook. Accessed 16/01/2026.

3.30%


[+] POVERTY RATE2018 data


EXPLANATORY NOTES: Poverty rate at $3.00 a day (2021 PPP) (% population). Data via
Poverty and Inequality Platform, The World Bank. Accessed 15/01/2026.

51.35%


[+] INTERNET PENETRATIONITU estimate, 2023


EXPLANATORY NOTES: Data via International Telecommunication Union (ITU) DataHub. Accessed 15/01/2026.

29.10%


[+] GLOBAL ACCOUNT OWNERSHIPThe percentage of respondents who report having an account (by themselves or together with someone else) at a bank or another type of financial institution or report personally using a mobile money service in the past 12 months (% age 15+), 2024 data


EXPLANATORY NOTES: Data via World Bank Global Findex Database. Accessed 15/01/2026.

59.83%


[+] CREDIT CARD OWNERSHIPThe percentage of respondents who report having a credit card, % age 15+, 2024 data


EXPLANATORY NOTES: Data via World Bank Global Financial Inclusion Database. Accessed 15/01/2026.

0.80%


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


EXPLANATORY NOTES: Data via Cable.co.uk. Accessed 20/04/2026.

$0.84

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

None


Music Performers


Sound Recording Producers/Labels


Other


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

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 is a domestic repertoire (local content) quota for broadcasters who must ensure that:

  • A minimum of 60% of all content annually is produced by natural or legal persons who are citizens, permanent residents or legal persons majority of whose directors or shareholders are citizens or permanently reside in the United Republic, or are authorised by the licensee or any person to undertake local content production.

  • Not less than 80% of their music selection aired daily between 5.30 a.m. and 9.00 p.m. is Tanzanian music.

The full text of the quotas and definition of local content may be found in Section 31 of the Electronic and Postal Communications (Radio and Television Broadcasting Content) Regulations, 2018 (amendments in 2024) made under Section 103 of the Electronic and Postal Communications Act, 2010.

Digital Streaming Services


GLOBAL STREAMING SERVICES


REGIONAL STREAMING SERVICES


DOMESTIC STREAMING SERVICES

Key Risks and Opportunities

Risks

  • Investment risks in Tanzania are primarily defined by low consumer purchasing power and high economic inequality. With high poverty rate and low nominal GDP per capita, the market for premium subscription models is limited.

  • Market reach is restricted by a significant connectivity and infrastructure gap. Although mobile data is available, it remains comparatively expensive relative to local incomes, and only a third of the population is currently online.

  • Non-adherence to key international treaties like the Rome Convention, WCT, and WPPT signifies a weak legal framework for protecting digital and performance rights, creating vulnerabilities for rights holders in the modern music landscape.

Opportunities

  • The large youth demographic, combined with low overall and youth unemployment, represents a significant potential consumer base for music and creative content.

  • The comparatively high global account ownership (including mobile money) can be leveraged for digital music sales and subscriptions, bypassing the limitations of low credit card ownership and supporting infrastructure for digital payment systems.

  • The availability of global, regional and local streaming services signifies an established digital music consumption habit and a competitive streaming market offering Tanzanian artists a pathway to reach wider audiences.