South African gospel musician and pastor Bishop Benjamin Dube has announced a new partnership between his company, Dube Connection, and Sony Music Entertainment Africa, coinciding with celebrations marking 20 years of his acclaimed In His Presence music ministry. The agreement will see Bishop Dube’s music catalogue distributed and managed through Sony Music Entertainment Africa, with both parties planning initiatives aimed at expanding the reach of his work to existing and new audiences across Africa and beyond. Dube, one of South Africa’s most recognised gospel artists, has built a career spanning several decades, becoming known for his contributions to gospel music and worship ministry. Speaking about the partnership, Dube described the agreement as a significant moment in his career. “Partnering with Sony again is very sentimental for me. This time, it’s bigger and better, and I’m looking forward to breaking new ground as we step into this next chapter,” he said. Sony Music Entertainment Africa’s director of Southern African repertoire, Katlego Malatji, said the partnership had been designed to reflect Dube’s career trajectory and future ambitions. “The partnership is tailored to the Bishop’s journey, understanding where he comes from and where he’s trying to go,” Malatji said. “I am putting a challenge on the record label to earn its right to work with the Bishop, and I think that is a fair place to be. “My hope is that one year from now, the Bishop will report back so that more gospel artists can get an understanding of the potential fruits of relationships of this nature; where artists have a lot to bring to the table, and equally, we as record labels have a role to play, so we get the synergies correct.” The announcement comes as Dube prepares for a series of performances in several African countries, including Tanzania, Uganda and the Democratic Republic of Congo. He is also expected to release new music during the second half of 2026. Reflecting on the anniversary of In His Presence, Dube said the milestone carried personal significance. “Celebrating 20 Years of In His Presence is a humbling experience for me. It speaks to the redemption of my purpose in life, which is to usher in God’s Kingdom on Earth through my music ministry,” he said. Since its inception, In His Presence has become one of the most prominent gospel music platforms in South Africa, helping to showcase and develop numerous artists within the genre. The partnership with Sony Music Entertainment Africa represents the latest chapter in Dube’s career as he continues to expand his influence within the gospel music sector while preparing new projects for release.

South African amapiano artists Ghost Da Catalyst and Khalil Harrison have released a collaborative extended play (EP) titled Audio Hug, a project centred on themes of comfort, connection and emotional reflection. The EP brings together soulful melodies, piano-driven production and amapiano rhythms, with the artists describing the project as music intended for personal and reflective moments. “Audio Hug is for the moments when you don't have the words,” the duo said in a joint statement. “It's the sound of being held when you're tired, celebrated when you're winning, and understood when you're quiet.” The release is led by the track ‘C’est La Vie (Ntombenhle)’, which features Cooper SA, Ceeka RSA, Jay Sax and Tyler ICU. The song combines saxophone elements with amapiano production and serves as the project's focal track. Audio Hug follows the earlier release of ‘eTjwaleni’, featuring Pale Moloi and LeeMcKrazy, which introduced listeners to the musical direction of the EP. For Ghost Da Catalyst, the project follows previous releases including ‘Lenyatso’ and ‘Intombi’, which helped establish his profile within the amapiano scene. Khalil Harrison, meanwhile, has continued to build his reputation following the success of tracks such as Jealousy and a series of collaborations that have increased his visibility within the genre. The EP places a strong emphasis on collaboration, with multiple guest artists contributing to the project’s sound. Rather than focusing solely on dancefloor-oriented material, the release explores more introspective themes through its songwriting and production. The artists said the project was designed to accompany listeners through a range of experiences, from moments of celebration to periods of reflection. Audio Hug is now available on major digital streaming platforms. Contributors: Lebogang Masilela and Mlungisi Mtsi 

Three-time Grammy Award-winning singer, songwriter and producer NE-YO is set to return to South Africa this October for two live performances as part of his international tour. The American R&B star will perform at the Grand Arena at GrandWest in Cape Town on 17 October, before heading to the SunBet Arena in Pretoria for a second show on 18 October. NE-YO, whose career spans more than two decades, is known for a catalogue of global hits including ‘So Sick’, ‘Sexy Love’, ‘Closer’, ‘Because of You’, ‘Miss Independent’ and ‘Push Back’. His latest single, ‘Miss Tundra’, was released earlier this year. Released in 2005, ‘So Sick’ reached number one on the Billboard Hot 100 chart and was later certified quadruple platinum. Since then, NE-YO has established himself as one of the most successful R&B artists of his generation, accumulating billions of streams worldwide. In addition to his recording career, NE-YO has written songs for several major artists. His songwriting credits include Rihanna’s ‘Unfaithful’, ‘Russian Roulette’ and ‘Take a Bow’, as well as Beyoncé’s hit single Irreplaceable. He has also contributed songs for artists including Jennifer Hudson, Usher, Carrie Underwood, Celine Dion and Mario. Beyond music, NE-YO has built a career in film and television, appearing in productions such as Empire, BMF, World of Dance, Dance Monsters, Stomp the Yard, Red Tails and Step Up: High Water. The artist is also preparing to release a country-influenced album titled Highway 79, scheduled for release on 10 July. Vertex Events executive director Thato Segaole said the company was looking forward to hosting the performances. “Giving the audiences a chance to experience a talented and respected artist such as NE-YO is a great pleasure for our team. We look forward to producing live shows of a great stature that will create endless talkability. Our vision to bring timeless music to the fans will once again happen with hard work, dedication and precision,” Segaole said. Tickets for both concerts will be available through Webtickets and Pick n Pay stores nationwide. Organisers said ticket prices will start from R950, with venue gates opening at 6pm on both show dates. Contributor: Sisi Nkabinde, Nkululeko Njapha, Kgotso Lefa, Mpumelelo Xaba, and Satiate Chauke

South African amapiano artist CowBoii has released a new single, ‘uHAMBO 2.0’, featuring vocalist Azi, as the first official release from his forthcoming album iKati Elimhlophe, scheduled for release on 30 June. The track follows ‘uHambo’, which appeared on CowBoii’s previous album TAAI, and continues themes explored in the earlier song. While the original focused on a journey of movement and progress, ‘uHAMBO 2.0’ examines ideas of reflection, healing and reconnecting with one’s roots. According to CowBoii, the song centres on the importance of returning home, both physically and emotionally, during periods of uncertainty and personal challenge. The track combines soulful melodies with spiritual themes and addresses experiences associated with identity, growth and self-discovery. The release also introduces themes that will feature on iKati Elimhlophe. The forthcoming album is expected to explore issues including ambition, relationships, friendship, community and personal development. Azi contributes guest vocals to the single, with CowBoii describing the collaboration as one of the most emotional experiences of the recording process. “I cried when I heard Azi’s verse for the first time,” CowBoii said. “I couldn’t even write my own verse properly after that. It was one of the most emotional moments I’ve experienced in the studio.” Musically, ‘uHAMBO 2.0’ differs from some of CowBoii’s previous releases by placing greater emphasis on soulful arrangements and introspective songwriting rather than dancefloor-focused production. The single arrives as anticipation builds for iKati Elimhlophe, which is expected to showcase a broader range of the artist’s musical influences and storytelling approach. CowBoii has become known for blending amapiano with elements of rap and contemporary township culture, while using his music to explore the experiences and aspirations of young South Africans. ‘uHAMBO 2.0’ is now available on digital streaming platforms, with iKati Elimhlophe set for release on 30 June.

South African singer-songwriter and South African Music Award winner Bongeziwe Mabandla has released a new album titled Ndingubani, an 18-track project that explores themes of identity, personal growth, mental health, relationships and resilience. The album’s title, which translates to “Who Am I?”, reflects a broader examination of self-discovery and personal transformation. According to Mabandla, the project was developed during periods of reflection and uncertainty, drawing on experiences from both his childhood in the Eastern Cape and his adult life. “A lot of these songs were born from difficult moments,” Mabandla said. “Some came from memories of growing up in the Eastern Cape, others from experiences of illness, loneliness, pressure, love, addiction, and the emotional cost of chasing dreams. Even though many of the themes are heavy, the album is ultimately my own testament to hope and resilience.” The release marks Mabandla’s latest contribution to contemporary African music, a career that has seen him gain recognition for blending folk-inspired songwriting with African musical influences. The album incorporates elements of storytelling, theatre and spiritual music traditions. Several tracks address personal and social themes, including mental health, healing, ambition and belonging. Among the songs featured on the project are ‘Walila’, which incorporates narrative and theatrical elements, and ‘Ndikhulule (Depression)’ and ‘Ukuyeka’, which focus on experiences related to vulnerability, trauma and recovery. Other tracks, including ‘Zama’ and ‘A.M.L’, examine the pursuit of purpose and the challenges associated with personal and professional growth. The song ‘Libambe Ligatshoni ‘addresses perseverance and hope, themes that recur throughout the album. Ndingubani also includes a number of personal tributes. ‘Yalwa’ is dedicated to mothers and their contributions to family life, while ‘Mganwam’ reflects on friendship and loyalty. On ‘Ndinje’, ‘Mabandla’ collaborates with Cameroonian singer-songwriter Blick Bassy on a song centred on self-acceptance. The album arrives as Mabandla continues to build a reputation as one of South Africa's prominent contemporary musicians. Through Ndingubani, he presents a collection of songs that draw on personal experiences while addressing themes that resonate with wider audiences. The album is now available on major digital streaming platforms.

South African pop and R&B artist Yandani has announced the release of his new single, ‘Touch’, which arrives on 12 June 2026 as the lead track from his forthcoming debut EP, About You. The 20-year-old musician, who has built a following of more than one million users on TikTok, is scheduled to release the six-track EP on 10 July 2026. According to Yandani, ‘Touch’ explores the emotional intensity of being deeply attracted to someone despite recognising the complications within the relationship. “‘Touch’ is about being so in love with someone to the point where you lose control over your own life,” he said. “Even though the person seems to be playing games with your feelings, their beauty and presence are so powerful that you are willing to drop everything just to be near them.” The song combines pop and R&B influences and was co-written with British songwriter and producer Sacha Skarbek and songwriter Stephen Barnes. Skarbek is known for his work on songs including You're Beautiful and Goodbye My Lover by James Blunt, as well as Wrecking Ball by Miley Cyrus. Reflecting on the songwriting process, Yandani said the collaboration focused on creating an upbeat and enjoyable track. “It was very fun writing this song with Sacha and Stephen. We didn't want to make it super serious – we just kept it fun, bouncing ideas off each other. Having that much fun during the writing process was the most meaningful part.” The forthcoming EP was developed over a two-year period, with recording and writing sessions taking place in London, Durban and Cape Town. According to Yandani, About You examines various aspects of young relationships, including love, heartbreak, confidence and vulnerability. The project blends pop and R&B influences across six tracks. “With this EP I’m hoping that people see that even if you are sad and going through a lot, you're still a baddie and you don't need anyone to bring that down,” he said. “You can cry and be sad but my music is here to lift your spirit and remind you that you are the baddest.” Contributors: Bakang Mokgautsi, Muvhango Ndou, Mbongeni Yaka, Hlomisa Nqayana and Sisi Nkabinde

A United States federal judge has vacated an earlier order allowing AI music platform Udio to keep certain training data information under seal, potentially paving the way for the public disclosure of details relating to the company’s AI training practices. The development comes amid ongoing copyright infringement litigation involving major record companies and artificial intelligence music platforms Udio and Suno. Both companies have sought to prevent the release of what are known as their “training numbers”, figures representing the total number of recordings used to train their generative AI models. The companies argue that making the figures public could provide competitors with commercially sensitive information. However, the exact training numbers have remained undisclosed throughout the legal proceedings. The latest development concerns a lawsuit involving Udio and several music companies led by Sony Music Entertainment. According to court filings, Sony Music recently sought permission to file a redacted version of its amended complaint because it contained information that Udio regarded as confidential and suitable for sealing from the public record. Earlier this week, Judge Alvin K. Hellerstein initially approved Sony Music’s request. However, on the following day, he issued a separate order overturning a previous decision that had granted Udio’s request to seal references to its training numbers. In the order, Judge Hellerstein stated: “My Order granting Defendants’ motion to seal, ECF No. 166, is hereby vacated. The parties may brief that motion to seal, ECF No. 163, in the ordinary course.” The ruling does not automatically make the information public but requires the parties to continue arguing the matter before the court reaches a final decision on whether the material should remain confidential. The dispute centres on information uncovered during extensive discovery proceedings in the copyright lawsuits. The figures are considered significant because they relate to the scale of copyrighted recordings used to train AI music-generation systems. Suno has previously acknowledged that its training data includes “tens of millions of public music audio files and corresponding textual metadata”, although it has not disclosed a precise number. The legal battle forms part of a broader dispute between the music industry and AI developers over the use of copyrighted recordings in training artificial intelligence systems. Record labels argue that AI companies used protected works without permission, while AI developers have sought to defend their practices under the principle of fair use. In a separate filing, Suno has asked the court to focus on its fair use defence rather than allow further expansion of the lawsuit brought by major record companies. “After two years of extensive fact discovery,” Suno said in a court filing, “Suno is entitled to a timely consideration of its fair use defense. The Court should reject Plaintiffs’ attempt to expand this case beyond that can be manageably litigated, at least without undue and indeterminate delay.” Further court submissions are expected to provide greater clarity on whether Udio’s training numbers will ultimately remain confidential or be disclosed as part of the ongoing litigation.

By Mzi Kaka The creator economy is often discussed as if it belongs only to influencers, podcasters, YouTubers, and people with large followings. That misses the deeper change taking place. What is happening now is not simply the arrival of new platforms but the reshaping of creative work itself. The type of  jobs emerging from the creator economy will not only be new titles, but also existing roles stretched into new forms. The multi-skilled creator is becoming the norm In digital content production, the old boundaries are becoming less useful. The industry increasingly needs people who can shoot, edit, write, produce, package, and adapt content across platforms such as TikTok, YouTube, Instagram, podcasts, vodcasts, and whatever comes next. It means creatives must understand how content moves through the ecosystem. Each platform has its own logic, pacing, and audience behaviour. The creative professional who understands those differences has an advantage. We are in a multi-hyphenate world now. For young creatives, versatility has become a critical part of employability. The producer is no longer only producing the show Radio shows this clearly. A show must live on air, on social media, on podcast platforms, on video, and in short-form digital moments. That has given rise to the digital producer. This person thinks about how a show translates beyond the broadcast. What becomes a clip? What becomes a podcast? What works as a visual moment? How does the show find expression on Instagram, TikTok, YouTube, WhatsApp, or any other space where audiences spend time? The same pattern is visible across the creative economy. The job is no longer only to make content. It is to understand where that content will live and how people will encounter it. Sound, screens, and AI are creating new roles In audio, spatial sound is a significant growth area. As spatial audio becomes more common, mixing engineers will need to understand how to place listeners inside a sound environment rather than simply mixing for left and right. In film, gaming, and visual media, we are also seeing roles emerge around virtual and augmented reality, interactive storytelling, virtual events, and synthetic media. These roles require people to think across storytelling, production, and audience experience. Music is evolving too. AI music producers are already using tools to compose, arrange, generate vocals, speed up workflows, and test ideas. The important point is that the quality of AI output still depends heavily on the quality of the input. The more a producer understands music, sound, structure, and emotion, the better they can direct the tool. The business layer is part of the work Algorithm strategists will help creators and companies understand how content is distributed and discovered. Metadata specialists will matter because accurate data determines credit and royalty flows. Web3 and blockchain-related roles may revolve around digital assets, fan tokens, smart contracts, and new forms of audience loyalty. These roles remind us that creative work does not end at the upload button. Discovery, data, rights, credit, monetisation, and fan relationships are now part of the creative infrastructure. More tools can also mean more pressure There is a risk here too. If AI allows people to do more, faster, more may be expected of them, especially in a freelancer-heavy sector already shaped by tight budgets and unstable income. Young creatives will need boundaries, business understanding, and the confidence to know what their work is worth. Everyone will need some level of fluency with these tools. But fluency with tools is not the same as mastery of craft. At  Academy of Sound Engineering, students must understand the principles, techniques, and workflows of their discipline while engaging with the technologies that shape the industry. The creator economy will create new jobs. More importantly, it will reward those who can combine creativity, technical skill, commercial awareness, and adaptability. The future creative professional will not be defined by one title. They will be defined by how well they understand the system around the work. Mzi Kaka is a lecturer at The Academy of Sound Engineering. The opinions and views expressed herein are solely his own and do not reflect the position or stance of the publication.

Members of the original cast of the acclaimed musical Sarafina! are set to reunite for a special performance as part of the 50th anniversary celebrations of The Market Theatre later this month. The performance will form part of Let’s Meet at The Market Theatre, an immersive theatrical experience scheduled to take place from 19 to 21 June 2026. The production is designed to showcase the history, productions and individuals who have contributed to the theatre's development over the past five decades. According to organisers, the original Sarafina! cast will present a 56-minute commemorative performance during the anniversary programme. The reunion will mark the first time the original cast has performed together since 1991. Created by the late Mbongeni Ngema, Sarafina! premiered at The Market Theatre in 1987 before gaining international recognition. The musical focused on the experiences of South African youth during apartheid and went on to become one of the country's most successful theatre productions. Speaking on behalf of the cast, Nhlanhla Ngema described the reunion as both emotional and significant. “Returning to The Market Theatre with my fellow cast members is both emotional and deeply meaningful,” he said. “Sarafina! is more than a production; it is a movement that gave a voice to a generation and showcased the resilience, courage and talent of South Africans to the world.” Ngema added that reuniting more than three decades after the cast’s last performance together was a fitting tribute to the legacy of his brother, Mbongeni Ngema, and those involved in the production's success. “To reunite 35 years after our last performance together, in the very institution that helped launch this historic production, is a fitting tribute to my brother's legacy and to everyone who contributed to making Sarafina! a global phenomenon,” he said. The original cast members expected to participate include Baby Cele, Ntombikhona Dlamini, Lindiwe Dlamini, Sboniso Khumalo, Thandekile Mqadi, Kipizane Skweyiya, Nandi Ndlovu, Linda Mtolo, Lindiwe Hlengwa, Zandile Hlengwa, Dumisani Dlamini, Pat Mlaba, Nhlanhla Ngema, Congo Hadebe, Nkosingiphile Sithole and Mpume Shelembe. Organisers said the performance will provide audiences with an opportunity to revisit one of South Africa's most influential theatrical productions while reflecting on the role The Market Theatre has played in nurturing socially conscious and ground-breaking work. The anniversary programme is expected to celebrate the theatre’s contribution to South African arts and culture since its establishment while highlighting its continued role in the country’s theatre landscape. Contributor: Quing Torch

South African musicians K.O, Danya Devs and Scotts Maphuma are set to release a collaborative single titled ‘Hotela’ on 12 June. The track brings together elements of hip hop, Afro-pop and amapiano, marking a cross-genre collaboration between three artists from different areas of South Africa's contemporary music scene. According to information released ahead of the launch, the song centres on themes of ambition, success and aspirations for an improved standard of living. Its title references the pursuit of luxury and personal advancement, drawing inspiration from modern lifestyle trends often associated with social media culture. One of the song's recurring lyrics, “Akasa lali endlini, seka lale maHotela”, translates as “She no longer sleeps at home; now she sleeps in hotels”, reflecting a narrative of social and economic mobility. The release represents a notable development for Scotts Maphuma, whose music has primarily been associated with the amapiano genre. The artist incorporates rap elements into his performance on ‘Hotela’, a stylistic approach that differs from his previous work, including the hit single ‘Gone Kanje’. For Danya Devs, the collaboration arrives as he continues to establish his solo career following his departure from the duo Blaq Diamond. The project also coincides with a milestone year for K.O, who is marking two decades in the music industry. The rapper has remained one of South Africa's most prominent hip-hop artists, with a catalogue that includes several commercially successful releases and award-winning projects. ‘Hotela’ will be available on major digital streaming platforms from 12 June. Contributors: Sisi Nkabinde, Nkululeko Njapha, Muvhango Ndou, Kgotso Lefa and Mpumelelo Xaba

Nigerian Afropop singer Ayra Starr has released a new single titled ‘Where Do We Go’, marking her first release of the year. The track, issued through Mavin Records, was produced by ILY​A and blends Afropop rhythms with upbeat percussion and bass-driven instrumentation. The song explores themes surrounding romantic relationships, with Ayra Starr delivering vocals over an up-tempo production. ‘Where Do We Go’ follows the release of ‘Who’s Dat Girl’, a collaboration with Nigerian artist Rema that was released in October last year. Ayra Starr, who has received two nominations at the Grammy Awards and multiple honours at the MOBO Awards, has seen significant global growth in recent years. Her music catalogue has accumulated more than seven billion streams across platforms and over one billion views on YouTube. Among her widely recognised releases is Rush, which has surpassed 500 million streams on Spotify. The milestone made her the first African female artist to have two songs exceed 500 million streams on the platform. She also received a nomination in the Best African Music Performance category at the 68th Annual Grammy Awards for the single Gimme Dat featuring Wizkid. In the same period, she won two MOBO Awards and was named Best African Music Act, becoming the first female artist in 16 years to win the category. She also received the Best International Act award at the BET Awards..

Apple Music has named Nigerian Afrobeats artist Shoday as the latest cover star of its Africa Rising programme, highlighting emerging artists from across the continent. The announcement places the singer on the cover of the Africa Rising playlist, a platform created by Apple Music to promote developing African talent to global audiences. Shoday, who hails from Ogun State and was raised in Lagos, has gained attention in Nigeria’s music scene through singles such as ‘Dey 4 You’ and ‘Caution’. The latter helped introduce the artist to a wider audience after appearing on streaming charts, including Apple Music’s Top 100 in Nigeria and the Shazam charts. “It’s an honour being the cover star of Africa Rising, I feel blessed,” Shoday said. “A big thank you to everyone supporting my music, and a big thank you to the Apple Music team for seeing me fit to cover the prestigious Africa Rising playlist.” The recognition comes shortly after the release of his debut album, Hybrid, which arrived earlier this month. The project combines street-influenced Afrobeats with melodic and introspective elements. The album follows a series of recent releases that gained traction on streaming platforms, including ‘Nakupenda’ and ‘Hey Jago’. His January 2026 single ‘Paparazzi’, featuring FOLA, reached number one on Apple Music’s Lagos chart and ranked highly on the Apple Music Nigeria Top Songs chart. Another track, ‘Casablanca’ featuring Ayo Maff, was included in Apple Music’s Best Songs of 2024 list. Shoday’s recent activities have also included a debut tour in the United Kingdom in 2025, with performances in London, Manchester and Birmingham. As part of the Africa Rising feature, the artist will appear on the playlist and in an episode of Africa Now Radio hosted by Nandi Madida, where he discusses his musical journey and creative development.

South African amapiano producer and DJ Stokie has released a new single titled ‘Amazwe’, featuring Zain SA, DJ Nana and Neo Soul. The track brings together several South African artists in a collaboration that blends vocal performances with amapiano production. The title ‘Amazwe’, which translates to “nations”, reflects themes of identity, gratitude and life experiences. Musically, the single combines soulful vocals with the percussive rhythms commonly associated with amapiano, a genre that originated in South Africa and has gained international recognition in recent years. The song is led by vocal contributions from Zain SA, while DJ Nana and Neo Soul contribute to the production. DJ Stokie, known for his work within the amapiano scene, has previously collaborated with a range of artists in the genre. His releases have often combined dance-oriented rhythms with melodic and vocal elements. ‘Amazwe’ has been released on major digital streaming platforms and is the latest addition to DJ Stokie’s catalogue of amapiano recordings. The single follows his previous projects, including the album Shandu Ka Ndaba.

British music rights management organisation PRS for Music has confirmed that its chief executive, Andrea Czapary Martin, will step down from her role at the end of 2026. The organisation announced on 5 March that the decision was made in agreement with the PRS Members’ Council to allow for an orderly leadership transition and ensure continuity for the society and its members. PRS for Music represents the rights of more than 180 000 songwriters, composers and music publishers. Czapary Martin joined PRS for Music in June 2019. Before taking the role, she held senior leadership positions across several data-driven and subscription-based organisations. Her previous roles included serving as president and CEO of three international business units at Reader’s Digest Association, managing director of data services at Royal Mail in the United Kingdom, and President of ADT Canada. During her tenure at PRS for Music, Czapary Martin oversaw the organisation through the COVID-19 pandemic, including the introduction of an Emergency Relief Fund designed to provide financial support to members during lockdown periods. The society also relocated its headquarters to a new office in London Bridge during this period. In 2020, PRS for Music introduced a five-year strategic plan aimed at increasing royalty distributions to £1 billion by 2026, reducing its cost-to-income ratio to below 10 per cent and expanding innovation through technology, data systems and partnerships. The organisation reported that it paid out £1.02 billion (about $1.3 billion) in royalties to songwriters, composers and publishers in 2024, representing an 8.1 per cent year-on-year increase. According to PRS for Music, many of the objectives in the five-year plan were achieved within three years. Commenting on her planned departure, Czapary Martin said: “I am immensely proud of everything PRS for Music has achieved, not least the doubling of revenues and distributions over the last 10 years. These ground-breaking financial results were possible due to the culture of innovation and agility now embedded in everything we do.” She added: “My commitment remains to delivering the best possible outcomes for the songwriters, composers and publishers we have the privilege to represent, and to ensuring a smooth transition to the next phase of leadership.” PRS Members’ Council chair Julian Nott, said: “Andrea’s commitment to the company has never wavered, and that spirit will undoubtedly continue until her departure. We are deeply grateful for everything she has given to this organisation and its members.”

American singer, songwriter and producer Charlie Puth has joined artificial intelligence music platform Moises as chief music officer, the company has announced. In the newly created role, Puth will contribute to the company’s creative and product direction, providing input on tools designed for everyday use by musicians. The platform focuses on AI-powered features that allow users to isolate vocals and instruments, detect chords and song structures, and experiment with arrangements during music production and practice. Puth said he had used the platform during his own creative process prior to joining the company. “I’ve been using Moises in my own creative process for years, as have many of my friends,” he said. “It opens up possibilities that used to take hours or expensive studio setups, whether that’s isolating vocals to study technique or experimenting with arrangements in real time. AI, when done right, isn’t here to replace musicians. It’s here to help artists learn, explore, and bring their ideas to life.” According to the company, Puth will collaborate on the development of artist-focused features and help ensure that the platform reflects the workflows used by musicians in practice and production. Geraldo Ramos, chief executive officer of Moises, said the company views artificial intelligence as a tool intended to support creative work rather than replace it. “Musicianship has always evolved alongside technology, and AI represents the next chapter in that story,” Ramos said. “But we believe the future of music creation isn’t about AI generating songs for you. It’s about AI amplifying what makes human creativity irreplaceable: intuition, emotion, and artistic vision. AI should be a brush in the artist’s hand, not a paint-by-numbers kit.” To mark the partnership, Puth and Moises have launched a global remix competition linked to the Super Bowl, where the artist performed the national anthem earlier this year. The initiative, called the Moises Jam Session, invites musicians to remix or cover Puth’s single “Best Yourself Up,” from his forthcoming album Whatever’s Clever! scheduled for release on 27 March. Participants can access the track’s individual stems through the Moises application, including isolated vocals and instrumentals. Puth will select the winning remix and cover versions. Winners and finalists will share $100 000 in cash and prizes, signed merchandise, and a backstage meet-and-greet at Puth’s performance at Madison Square Garden on 29 May. Moises, which uses AI-powered tools to support music learning, rehearsal and production, has gained international recognition. The application was named Apple iPad App of the Year 2024 and was shortlisted as a finalist for the Apple Design Awards 2025. The platform reports more than 70 million users worldwide and is available in 33 languages. Its development team includes engineers and scientists with experience at companies such as Spotify, Pandora and TikTok.

By Siphokazi Ndlovu and Sisi Nkabinde South African maskandi music continues to gain momentum, attracting both long-time followers and a younger generation of listeners. Since November 2025, a number of tracks have performed strongly across streaming platforms and social media, highlighting the genre’s growing reach and renewed visibility in the contemporary music landscape. While new musical styles continue to emerge, maskandi has experienced a notable resurgence, driven by established performers as well as a new wave of artists. The following selection highlights some of the tracks that have drawn attention since late 2025, reflecting the storytelling, guitar-driven sound and cultural identity associated with the genre. The list will be updated throughout the year to include the latest releases. 'Umaqondana' by Feza Feza opens the list with a track that combines emotive lyrics with intricate guitar arrangements. The song’s steady rhythm and expressive vocal delivery have contributed to its growing popularity among listeners. Since late 2025, the track has continued to gain traction across streaming platforms. 'Izintaba Zokhahlamba' by Mphathiwohlelo MC, Shenge Wasehlalankosi and Mjolisi  This collaboration brings together traditional maskandi elements with a contemporary approach. The combination of vocal interplay and layered guitar melodies creates a rich soundscape. The track has resonated with both radio audiences and digital listeners. 'Njengamajuba' by Skweletu Skweletu’s lyrical style and detailed guitar work are central to this release. The track balances the emotional depth associated with maskandi with a polished modern production style, helping it appeal to a broader audience. 'Umanikanikana' by Khuzani Khuzani delivers energetic vocals and lively guitar riffs in this upbeat track. The song’s narrative themes and rhythm have contributed to its increasing popularity since its release, reflecting the continued relevance of maskandi in today’s music scene. 'IVALENTINE' by Skhanga and Shenge Wasehlalankosi 'IVALENTINE' combines classic Maskandi instrumentation with contemporary production. The collaboration between Skhanga and Shenge Wasehlalankosi has attracted significant attention on streaming platforms, demonstrating the genre’s ability to adapt while maintaining its core musical identity. 'Ukhethe Mina' by Ntencane Ntencane presents a song characterised by expressive vocals and melodic guitar lines. The track has resonated with listeners and reinforces the artist’s growing reputation within the modern maskandi movement. 'Dubai' by Mthandeni and MaWhoo Mthandeni collaborates with MaWhoo on this high-energy release that blends traditional maskandi rhythms with modern influences. The track achieved notable streaming success shortly after its release, reaching one million streams within 24 hours. 'ISAZOCHOMELANA' by Inkos’yamagcokana and Boohle This collaboration with Boohle offers a smooth and soulful interpretation of maskandi. Boohle’s vocal performance, combined with the song’s memorable instrumentation, has contributed to its strong reception among listeners. 'Lona Ngowami' by Mjolisi Mjolisi continues to build momentum with this emotionally driven track. The song highlights his distinctive guitar style and narrative songwriting, earning attention across streaming playlists. 'STOP and GO' by uMnotho and JIKIJIKI uMnotho and JIKIJIKI explore a fusion of maskandi roots with contemporary sounds in this release. “STOP and GO” reflects the emergence of new voices within the genre while remaining connected to its cultural foundations.

Applications are now open for artists seeking to perform at the 2026 edition of Visa For Music, scheduled to take place in Rabat from 18 to 21 November. The annual event brings together artists and music professionals for a series of live showcases, networking activities and industry discussions. Organisers are inviting musical groups to apply to perform a 40-minute live set during the festival. Eligibility criteria for artists Applicants must meet the following requirements: Present a 40-minute live performance within one of the following categories: Global folk and fusion Contemporary and urban music Electronic music (DJ and VJ) All members of the group must be over 18 years old. The group must have been active for at least one year and have prior stage experience. Applications must include details of concerts performed in the past year and those scheduled for 2026. Performances must consist of original music delivered live. Organisers also note that: Groups that applied previously but were not selected may apply again. Artists who performed at the festival more than three years ago may reapply, provided they present a new project or group. Participation conditions Selected artists will receive logistical support from the festival, including: Stage setup and necessary equipment for the showcase (excluding specialised instruments such as guitars, basses, unique percussion instruments or grand pianos). Airport transfers and accommodation for up to six group members for one to three nights, depending on their country of residence. A per diem of 500 Moroccan dirhams (about $50) per person on the day of the showcase, capped at 3 000 MAD per group. Artist passes granting group members and their manager access to all festival activities. Promotional support through the festival’s communication channels. However, organisers state that artist fees, travel costs and visa expenses will not be covered. Application requirements Applicants must complete the official form and submit the following materials: A biography of up to 200 words. Group composition, including full names of members and instruments played. Internet links, including two live performance videos. Discography and a list of past and planned concert dates for 2026. Technical rider, including backline and stage plot. Three high-resolution photographs. A press kit. Deadline and additional information Application deadline: 27 March 2026 at 23:00 (GMT+1). Only complete applications submitted before the deadline will be considered. Organisers advise applicants to assess the financial requirements for participating before submitting an application. Further information can be obtained by contacting the organisers via email at showcase@anya.africa. Disclaimer: Opportunities published on this platform are provided by external organisers. While we aim to share accurate and current calls, Music In Africa is not responsible for the organisation, management or delivery of any related events or programmes.

Applications are open for composers and conductors seeking to participate in the 2026 edition of the Sofia Art and Music Festival (SAMF), scheduled to take place from 29 June to 13 July 2026 in Sofia, Bulgaria. The two-week orchestral programme is organised by Global Arts United in partnership with the Sofia Philharmonic Orchestra. The initiative is designed for composers and conductors who wish to develop orchestral works through rehearsals and a public performance. Selected composers will work directly with the orchestra and conductor during the festival period. The programme culminates in a public concert at the Bulgaria Hall. Programme overview Participants selected for the orchestral programme will receive: One full orchestral rehearsal. One dress rehearsal. A public premiere performance of their work. Professional audio and video documentation of the performance. Compositions submitted for the programme may be up to 10 minutes in duration. Composer categories Applicants may submit works in the following categories: Symphony orchestra. Concerto, with optional soloists including piano, cello, violin or clarinet. Other instruments may be considered. Maximum orchestral instrumentation: Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Brass: 4 horns, 3 trumpets, 3 trombones, 1 tuba. Percussion: timpani and three percussion parts. Additional instruments: piano (or celesta), harp and strings. Programme fee The participation fee for composers is €4 395 (about $5 100). The fee covers: Accommodation with breakfast. Rehearsals and lessons. Lectures and masterclasses. Cultural activities during the festival. A concert performance of the selected work. Audio and video documentation. Scholarships Merit-based and need-based scholarships of up to €1 500 are available to selected participants. Application requirements Applicants must submit the following materials: Personal information and curriculum vitae details. One large-ensemble score (for eight or more players). MIDI audio is optional. One additional score. Two references. A public link to portfolio materials. Deadlines Application deadline: 15 March 2026. Final scores due: 15 May 2026. Final orchestral parts due: 30 May 2026. Applicants will be notified of the outcome within seven to ten business days after submission View the original call here.

Organisers of the Sauti za Busara festival have opened applications for artists to perform at the event’s 24th edition, scheduled to take place in Stone Town, Zanzibar from 11 to 14 March 2027. The annual festival focuses on showcasing diverse music connected to Africa and its diaspora. According to organisers, the final line-up of performers will be announced in October 2026. Application priorities Artists selected for the programme are generally chosen based on several criteria, including: Music with a strong cultural identity linked to Africa. Women artists or groups led by women. Young, new and emerging talent. Music that carries positive and socially relevant messages. Performances delivered entirely live. Application requirements Applicants are required to submit the following materials through the official application form: Links to recent live performance videos (maximum of two clips; only online links accepted). Latest audio releases in MP3 format (maximum of two tracks). Two high-resolution promotional photographs. Stage plan and technical rider. Optional: a link to the artist’s profile on the Music In Africa website. Organisers encourage artists to create or update their profile on the Music In Africa platform, which functions as an electronic press kit and may support visibility for international bookings. Deadline and selection process Application deadline: Midnight (EAT) on 30 June 2026. Selection process: The festival’s selection committee will meet in July 2026 to finalise the programme. Notification: Applicants will be informed of the outcome before September 2026. Incomplete submissions or applications received after the deadline will not be considered. Support for selected artists Artists selected to perform will receive support from the festival, which includes: A performance fee. Per-diems for meals and incidental expenses. Accommodation in Zanzibar. Local transport related to performances. Tanzanian visa costs. Festival passes granting access to all shows during the event. Invitations to networking sessions, press conferences and related activities. Promotion through festival programmes, press releases, website and social media platforms. Visibility for travel sponsors on the festival’s promotional channels. Organisers noted that artists travelling from outside the region are generally expected to secure their own international travel sponsorship, although the festival may provide assistance where possible. View the original call here. Disclaimer: Opportunities published on this platform are provided by external organisers. While we aim to share accurate and current calls, Music In Africa is not responsible for the organisation, management or delivery of any related events or programmes.

Apple has selected South African singer and songwriter Umzulu Phaqa as the latest local act to feature in its Apple Music Up Next initiative. The programme, run by Apple Music, highlights emerging artists from around the world and promotes them through curated playlists and editorial support on the platform. “Being featured on Apple Music’s Up Next is incredibly exciting because it opens the door for the world to experience my sound,” Umzulu Phaqa said. “My music is a fusion of traditional Zulu elements and contemporary sounds, rooted in heritage but always evolving. “My goal is to be a global superstar while staying grounded in my culture, and this moment feels like a powerful step towards that vision.” As part of the Up Next programme, Umzulu Phaqa will be featured on the Up Next playlist on Apple Music, which showcases emerging artists selected by the platform’s editorial teams globally. Previous artists highlighted through the programme include Billie Eilish, Khalid, Burna Boy, Tems and Megan Thee Stallion. Born Sphiwe Moya in rural KwaZulu-Natal, Umzulu Phaqa is known for blending Afro-soul, Afropop, house and hip-hop with lyrical narratives rooted in isiZulu culture. She gained wider attention in 2025 with the release of the single ‘Mam’gobhozi’, which circulated widely online after being released in an unmastered format intended to preserve the message of the song. Later in 2025, she collaborated with MsFit on a joint project titled And The Grammy Goes To!. The 16-minute release features tracks such as ‘GRAMMY’, ‘PUT IT DOWN’ and ‘AMAHIGH VALUE WAT WAT’.