RECORDED MUSIC INDUSTRY OVERVIEW


Togo


Africa

Woman wearing sunglasses holding a microphone, performing in front of a large, lively crowd.

Potential of Recorded Music

MEDI aims to highlight music’s potential as a global tool to reduce poverty and drive economic growth by estimating its worldwide value. This includes projecting how that value could increase if every country had supportive institutions in place, such as appropriate legislation, infrastructure, and policies, and if music achieved full market penetration. We are currently collecting data in each country to support this analysis.


[+] RECORDED MUSIC POTENTIAL VALUEEXPLANATORY NOTES: TBC

Coming soon


[+] GROWTH POTENTIALEXPLANATORY NOTES: TBC

Coming soon


[+] INDUSTRY BAROMETER/CHANGE POTENTIALEXPLANATORY NOTES: TBC

Coming soon

Local Impact

Over time, MEDI will conduct country-level economic and social impact assessments 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.

9,260,865


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


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

$25,750


[+] 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.

$985.70


6.41%

[+] 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 INDEX2021 data


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

37.9%


[+] INFLATION RATEAnnual % change, 2025 data


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

2.3%


[+] 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.

44.49%


[+] UNEMPLOYMENT RATE2023 estimate


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

2.05%


[+] YOUTH UNEMPLOYMENT RATE2023 estimate


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

3.3%


[+] POVERTY RATE2021 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.

26.59%


[+] INTERNET PENETRATIONITU estimate, 2022


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

37.60%


[+] 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.

36.48%


[+] 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.

1.52%


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


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

$1.45

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

None


Other


Music Export Office

None


Joint Industry Body


Policies


Culture Policy/Strategy

None


Music Policy/Strategy

None

Legal Framework

Digital and Performance Rights Treaties

Other Treaties


National Copyright Legislation

National Treatment

  • Togo protects foreign authors who domicile in Togo, whose works are first published in Togo and based on reciprocity, which is determined jointly by the Minister of Culture and the Minister of Foreign Affairs.

    Qualifying foreign authors enjoy protection concerning reproduction rights and performance rights.

  • Togo protects the rights of foreign performers and producers of phonograms in accordance with the treaties Togo is a party.

    Togo also protects the rights of foreign performers whose habitual residence is in Togo, performance takes place in Togo, is fixed in the protected phonogram or included in the protected broadcast (i.e., when the headquarters of the broadcasting organisation is located in Togo or the transmitting station is located in Togo). Phonograms are protected if the producer is a national of Togo, if the first fixation of sound was made in Togo and if the phonogram was first published in Togo.

    Qualifying foreign producers of phonograms enjoy protection concerning reproduction, distribution and performance rights. Qualifying performers enjoy protection concerning reproduction and performance 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 is a domestic repertoire quota for broadcasters, requiring that both private and community radio and television broadcasters undertake to promote Togolese culture by granting a quota of at least 60% of content broadcasr to national production, songs, and music of Togolese expression.

The full text of the quota may be found in Articles 39 and 47 of Arrete N°04/HAAC/19/P - Portant Cahier des Charges et Obligation Générales des Sociétés de Radiodiffusion Sonore er de Télévision Privées Commerciales, as regulated by the Haute Autorité de l’Audiovisuel et de la Communication (HAAC).

Digital Streaming Services


GLOBAL STREAMING SERVICES


REGIONAL STREAMING SERVICES


DOMESTIC STREAMING SERVICES

None

Key Risks and Opportunities

Risks

  • Low nominal GDP per capita and a relatively high poverty rate mean that many consumers have limited disposable income for music, potentially restricting the growth of premium subscriptions and paid downloads.

  • Relatively low internet penetration and high mobile data costs limit the immediate reach of online streaming services and may hinder frequent usage, negatively impacting music consumption.

  • The absence of a national culture or music policy indicates a lack of strategic direction and structured government support for the sector. Additionally, Togo’s copyright legal framework requires updating to address digital rights protection and to strengthen enforcement in line with the international treaties it has ratified.

  • The numerous music associations, while positive for representation, might also indicate a fragmented industry that requires cohesive strategies to scale effectively.

Opportunities

  • A stable inflation rate supports a predictable economic environment, while GDP growth signals a positive economic trajectory. Together, these trends suggest the potential for rising disposable income and increased consumer spending on music over the long term.

  • A large youth population represents a significant, future-oriented consumer base for music and digital content. High levels of urbanization further concentrate and enhance access to this market segment.

  • Togo’s adherence to key international copyright treaties is a positive step. However, accelerating the adoption and implementation of the draft copyright bill is essential to establish a strong legal foundation for intellectual property protection, which is crucial for attracting and securing investment.