Why Most of Eswatini Artists Are Not Available on DSPs

An Issue

The digital age has revolutionized the music industry, offering unprecedented opportunities for artists to distribute their music globally. Yet, in Eswatini, most of artists remain absent from major Digital Streaming Platforms (DSPs) such as Spotify, Apple Music, and Tidal. This gap raises questions about the accessibility and commercial viability of Eswatini’s music. Are these artists producing commercial music that simply isn’t reaching DSPs, or is the music not commercial enough to sell? Let’s delve into the complexities behind this phenomenon.

The Promise and Challenge of DSPs

DSPs have become the go-to platforms for music consumption worldwide, providing artists with a global audience. However, the journey to get music on these platforms is not always straightforward, especially for artists in developing regions like Eswatini.

Barriers to Entry

1. Limited Resources and Knowledge: Many Eswatini artists may lack the technical know-how or resources needed to navigate the process of uploading and managing their music on DSPs. The absence of local industry infrastructure and support systems can exacerbate this issue.

2. Financial Constraints: While uploading music to DSPs can be relatively inexpensive, the costs associated with proper marketing, promotion, and maintaining an online presence can be prohibitive. Without financial backing, many artists find it challenging to break into the digital market.

3. Legal and Licensing Issues: Understanding the legalities of music distribution, including rights management and royalties, can be daunting. Missteps in these areas can prevent artists from successfully getting their music onto DSPs.

The Commercial Music Debate

A significant number of Eswatini artists produce what is locally considered commercial music—genres that are popular and have mass appeal. However, the global market’s commercial standards can be different.

1. Local vs. Global Appeal: Music that resonates deeply within Eswatini might not translate to broader, international audiences. DSPs thrive on music that has cross-border appeal, which may require artists to adapt their sound or marketing strategies to reach a wider audience.

2. Marketing and Promotion: For music to be commercially successful on DSPs, robust marketing and promotion are essential. Eswatini artists often lack access to professional marketing services that can help position their music for commercial success on a global scale.

The Path Forward

To bridge the gap and ensure more Eswatini artists find their way onto DSPs, several steps can be taken:

1. Education and Training: Initiatives to educate artists about the digital distribution process, rights management, and effective marketing strategies are crucial. Workshops, online courses, and mentorship programs can empower artists with the knowledge they need.

2. Local Industry Support: Establishing local organizations or coalitions that support artists with resources, funding, and advocacy can create a more robust music industry infrastructure in Eswatini.

3. Collaborations and Networks: Building networks with international artists, producers, and marketers can help Eswatini artists gain insights and access to global markets. Collaborative projects can also enhance visibility and credibility.

4. Government and Private Sector Involvement: Support from government bodies and private sector stakeholders can provide the necessary funding and infrastructure to help local artists thrive on DSPs.

The absence of Eswatini artists on major DSPs is not a reflection of their talent or the commercial potential of their music. Instead, it highlights systemic barriers and the need for greater support and resources. By addressing these challenges and leveraging the unique cultural wealth of Eswatini, there is immense potential for local artists to make a significant impact on the global music stage.

As we continue to explore and support the music industry in Eswatini, it’s essential to foster an environment where creativity can flourish and where artists have the tools and opportunities to reach their full potential. Only then can we see a more diverse and inclusive representation of Eswatini’s vibrant music culture on DSPs worldwide.