On March 6, 2026, the music industry’s relationship with "Big Tech" hit a breaking point. A group of independent musicians filed a 118-page federal lawsuit against Google, alleging that the tech giant systematically "scraped" 44 million audio clips (totaling 280,000 hours of music) from YouTube to train its AI models, including Lyria 3 and ProducerAI. For African artists, who rely on YouTube more than almost any other platform for global distribution, this isn't just a legal

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The Pulitzer Center is a powerhouse in independent journalism, and their call for proposals is a rare chance for creators to get high-level funding for underreported stories. Whether it’s climate change in the Sahel, the tech boom in Nairobi, or cultural shifts in Accra, this is where "local" becomes "global."

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In 2024, K Bili released Letter to the President, a bold 5-track EP that functioned as much as a manifesto as it did a musical project. Through an eclectic blend of rock, Afrobeat, and high-energy rhythms, the EP tackled heavy themes like social awareness alongside personal motivation and love. The lea d single was a heartfelt plea for the children of Africa, calling on leaders to confront corruption and finally prioritize the well-being of their citizens. It resonated as a m

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The African continent remained the center of gravity for both high-stakes sports and cultural milestones this weekend. From the podiums of New Jersey to the rally tracks of Naivasha and the vibrant stages of Accra, here is your specialized professional brief on the key developments in Ghana, Nigeria, Kenya, and South Africa.

In the rapidly evolving landscape of the digital age, few industries have been as disrupted—and as resilient—as music. Today, under the leadership of CEO Robert Kyncl, Warner Music Group (WMG) is not just adapting to change; it is seeking to author the rules of a new era. In his most recent communication to shareholders, Kyncl outlined a vision that pivots the industry from a focus on "subscriber volume" to one of "unlocked value." Here are the three pillars defining Warner M

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We Slept On Ebo Taylor"—is a biting critique. It suggests that while the world (from hip-hop samplers like Usher to jazz festivals in Berlin) was celebrating him as a musical deity, his own home, Ghana, failed to give him his flowers while he could still smell them.

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