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SoundCloud Restructures Artistes’ Royalty Payments System

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SoundCloud Royalty Payment

By Ahmed Rahma

An online audio distribution platform and music sharing website, SoundCloud, has declared on Tuesday that it will become the first streaming service to start directing subscribers’ fees only to the artists they listen to, a move welcomed by musicians campaigning for fairer pay.

Unlike other streaming services like Spotify, Deezer and Apple, which put royalty payments into one big pot and dish them out based on which artists have the most global plays, the company based in Germany is set to direct royalties due from each subscriber-only to the artists they stream from April 1.

Many artists and unions stated that the system used by other music apps is grossly unfair, giving a huge slice of the pie to mega-stars like Drake and Ariana Grande, and leaving almost nothing for musicians further down the pecking order which also means that many fans of more niche artists and genres fund music they never actually listen to.

“Many in the industry have wanted this for years. We are excited to be the ones to bring this to market to better support independent artists,” said Michael Weissman, SoundCloud’s chief executive officer, in a statement.

The company said the new payment system is known as “fan-powered royalties” or “user-centric model” and would empower listeners and encourage greater diversity in musical styles.

“Artists are now better equipped to grow their careers by forging deeper connections with their most dedicated fans,” the statement said.

“Fans can directly influence how their favourite artists are paid,” it added.

Major record labels are thought to have resisted such a move, in part because the current system allows them to generate massive profits through a relatively small number of huge stars.

A study by France’s Centre National de la Musique earlier this year found that 10 per cent of all revenues from Spotify and Deezer go to just 10 artists at the top.

That has allowed the major labels to amass record revenues over the past year, just as most musicians were thrown into crisis by the cancellation of live tours due to the pandemic.

Earlier this year, label bosses told a British parliamentary commission investigating the streaming economy that it may be too complicated for platforms to shift to fan-based royalty payments.

But SoundCloud said this was exactly wrong that its computing calculations took just 20 minutes under the new model, compared with 23 hours under the old one.

“The most important takeaway from SoundCloud’s data is that none of the previous modelling has been accurate, that when you actually run a user-centric system, the rewards to artists that have an audience are significantly improved,” said Crispin Hunt, chair of the British Ivors Academy, which has been running a campaign to “fix streaming”.

“It proves the distortion in value that the existing model delivers,” he said.

Ahmed Rahma is a journalist with great interest in arts and craft. She is also a foodie who loves new ideas. She loves to travel and would love to visit other African countries someday. She is a sucker for historical movies and afrobeat.

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Beyond Awards Night: How AMVCA Intentionally Celebrates Every Layer of the Industry

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AMVCA Beyond Awards Night

There’s a bigger truth at the heart of every award season: an entire industry can’t be neatly packaged into a list of winners and nominees.

It’s just not that simple.

There are too many moving parts. Too many stories. Too many people are doing the actual work on screen, behind the scenes, in rooms nobody sees, on sets that don’t trend, on projects that don’t always make the final cut of conversations.

And yet, that’s what most award shows try to do. Wrap everything up in one night. Hand out plaques. Roll credits.

But the Africa Magic Viewers’ Choice Awards (AMVCA) approaches it differently, and that difference shows in how the entire week is designed.

Because instead of compressing the industry into one moment, AMVCA stretches it out. It creates space. It acknowledges that different parts of the industry need different kinds of recognition.

Take Young Filmmakers’ Day, for example. This is not about who has “arrived.” It’s about who is coming. The ones still figuring it out, still building, still trying to get seen in an industry that doesn’t always make room easily. This day shifts the focus from applause to access. It says the future of the industry deserves its own spotlight, not as an afterthought, but as a starting point.

Then there’s Icons Night, and this is where memory comes in. Because long before the current wave, before the buzz, before the visibility, there were people who held things together. Who created, contributed, and carried the industry in ways that don’t always translate into award categories. AMVCA makes room for that kind of recognition, too, the kind that isn’t about competition but about contribution.

Cultural Night does something else entirely. It reminds you that beyond the films and the series and the technical credits, there’s identity. There’s heritage. There’s a deeper layer to the work being celebrated. It’s expressive, it’s vibrant, it’s fun, but it’s also grounding. Because storytelling doesn’t exist in isolation; it’s shaped by culture, by language, by lived experience. And this night leans fully into that.

And then, finally, Awards Night. The part everyone shows up for. The glamour, the wins, the reactions, the moments that will dominate timelines. It’s the culmination, the high point.

But when you look at everything that happens before it, you start to realise something important:

The awards are just one piece of the puzzle.

What AMVCA gets right is understanding that the industry is not one story; it’s many stories happening at once. Some loud, some quiet. Some celebrated, some overlooked. And if you’re going to truly honour that, you have to go beyond a single night.

So instead of trying to make everything fit into one frame, AMVCA expands the frame.

And in doing that, it doesn’t just celebrate winners. It celebrates the work, the people, and the layers that make the industry what it is.

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20 Complete MultiChoice Talent Factory Training in Grand Style

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20 students MultiChoice Talent Factory

By Modupe Gbadeyanka

No fewer than 20 young filmmakers from Nigeria and Ghana have completed the 2026 cohort of the MultiChoice Talent Factory West Africa Academy.

This is an initiative of MultiChoice, a Canal + Company, designed to develop young talent for Africa’s film and television industry.

The nine-month programme, put in place in partnership with Pan-Atlantic University, blends academic excellence with hands-on industry exposure, offering specialised training in directing, producing, scriptwriting, cinematography, and editing.

Demonstrating their readiness for the business of film, five graduates launched two independent companies during the academic year: Muri Marun Stories, a production house founded by Tolulope Akande, Opeyemi Obasa, and Dorathy Ufot; and CineX Mart Limited, a marketing and distribution firm established by Abdulsalam Ibrahim Oladimeji and Audu Israel Yakubu.

In recognition of this innovation, Muri Marun Stories Limited was announced as the recipient of the CEO’s Entrepreneurial Award, accompanied by a N2 million prize to support the company’s growth.

CineX Mart Limited also received special recognition for its strong business potential and early industry traction. It is already making significant industry inroads, having successfully placed the short film The Phone Call on Minflix and managing the marketing for the MTF film Trouble for Two.

Individual creative excellence was equally prominent, with student Kwaku Edusei Acquah earning the Audience Choice Award at the Lift-Off Global Network Film Festival for his film. The Imperfect Plan, alongside notable projects from peers Amirat Yakub and Emmanuella Nwachukwu.

Further recognising his outstanding creativity, Kwaku Edusei Acquah was awarded the Creative Innovator Award by the University for the Creative Arts, presented by Seyi Agboola, Senior International Recruitment Manager. The award comes with a £1,500 prize to support his continued development.

“This graduation marks a defining moment not just for these students, but for the future of African storytelling. They are no longer learners, but part of a distinguished creative community shaping narratives across the continent.

“Through their work, they are already creating jobs, inspiring communities, and positioning African stories where they belong; at the centre of the global stage,” the chief executive of MultiChoice Nigeria, Ms Kemi Omotosho, said.

On his part, the Dean for the School of Media and Communication at Pan Atlantic University, Mr Ikechukwu Obiaya, said, “This is the end of a phase, but only the beginning of your journey. You must commit to continuous learning, collaboration, and curiosity. The industry does not reward complacency; it rewards those who are intentional about growth.”

MTF’s long-term impact is best mirrored in the global success of its alumni. Most recently, the Class of 2021’s digital platform, Filmmakers Mart, received World Bank Group support to fuel a five-country expansion. Furthermore, Blessing Bulus earned the Women in Arts Impact Grant for the documentary Mi Tazi, while Ebuwa Desmond Ekunwe secured a prestigious fellowship at Germany’s Filmakademie Baden-Württemberg.

Additionally, Alice Johnson has stepped into a key leadership role at the Goethe-Institut, coordinating Africa-Europe cultural partnerships.

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AMVCA Young Filmmakers Day: Where African Talent Meets Opportunity

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AMVCA Young Filmmakers Day

As African storytelling continues to reach new audiences around the world, a new generation of filmmakers is stepping up with bold ideas, fresh perspectives, and stories that feel anything but ordinary. Helping to drive this momentum is the MultiChoice Talent Factory, which is setting the stage for Young Filmmakers Day ahead of its Awards Night on May 6.

This special gathering is more than a pre-awards celebration. It serves as a bridge connecting aspiring filmmakers with the industry experts who are actively shaping Africa’s creative economy. The focus is clear: create a space where talent meets opportunity, and where ideas are not only shared but refined into careers.

A Space for Audacious Storytelling

With the theme “Audacious Storytelling & Attracting The Right Opportunities,” the event is positioned as a call to action for young creatives across the continent. It reflects a growing shift in African storytelling, one that encourages risk-taking, originality, and authenticity.

From script development to production insights, participants will have the opportunity to engage directly with industry professionals, gaining practical guidance on how to navigate an increasingly competitive film landscape. The conversations are expected to move beyond inspiration into how stories are shaped, funded, and positioned for both local and global audiences.

Building the Next Generation of African Filmmakers

What makes Young Filmmakers Day significant is its intentional focus on access. For many emerging creatives, breaking into the film industry is not just about talent; it is about connection. This initiative seeks to close that gap by placing young storytellers in the same room as decision-makers, mentors, and established creators.

Backed by Canal+ through its investment in creative development across Africa, the program reinforces a long-term vision: to strengthen the continent’s storytelling pipeline and ensure African narratives continue to evolve on global platforms.

How to Participate

Aspiring filmmakers interested in attending are encouraged to register by sending an email to [email protected]. Slots are limited to reinforce the exclusivity and value of direct engagement with industry leaders.

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