African music is having a moment on the global stage. From Lagos to London, Afrobeats has evolved into a worldwide phenomenon, filling arenas, dominating playlists, and bringing African artists into collaborations with some of the biggest names in music. It is a proud moment for the continent, but beyond the celebrations, an important question remains: Who is actually making money from all this success? According to Spotify’s 2025 Wrapped findings, global Afrobeats listening grew by 22%. While those numbers are impressive, streaming figures alone do not tell us whether the artists behind the music are building lasting wealth. The challenge is that we often confuse visibility with financial success. At BusinessDay’s Creative Entertainment Summit in June 2026, industry leaders highlighted how weak intellectual property systems, inadequate licensing, and external ownership arrangements can limit the value African creators retain. These are issues the industry cannot afford to ignore. International record deals are not inherently bad; they can provide funding, wider distribution, and access to audiences artists might struggle to reach independently. However, when an artist gains global recognition without fully understanding the terms of a contract or retaining meaningful rights to their music, that success can come at a cost. Breaking into international markets should open doors, not force artists to surrender control of the very work that got them there. Beyond ownership and royalties, Africa must also address whether its entertainment infrastructure can keep pace with its growing talent. A May report by The Guardian highlighted challenges facing African promoters, including limited suitable venues, high production costs, and economic barriers. It is difficult to celebrate the global rise of African music without asking why organizing major shows at home remains such a struggle. Still, there are encouraging signs. TurnTable Charts’ first-half 2026 figures placed Dapper Music & Entertainment ahead of other Nigerian-owned music companies, with a reported 3.82% share of the measured market. Although that figure may seem modest, the growing presence of locally owned companies is worth celebrating because ownership matters just as much as visibility.  Looking ahead, the next phase of African music’s growth must be about more than awards, viral hits, and streaming records. We need to ask whether songwriters are receiving their royalties, whether independent labels can access investment, and whether African cities have venues capable of hosting major tours. Governments must strengthen copyright enforcement, businesses need to invest in infrastructure, and artists must understand the business side of their careers. Talent may get an artist noticed, but sustainable businesses are what keep an industry alive. African music cannot thrive on a handful of superstars alone; it needs a strong ecosystem in which producers, songwriters, managers, promoters, independent labels, and emerging artists can earn a living, retain value, and grow alongside the industry.

In 2006, Keyshia Cole delivered one of the defining R&B songs of the decade with “Love,” an emotional ballad about heartbreak, devotion and the struggle to believe in someone who may not deserve it. Co-written by Cole and producer Greg Curtis, the song appeared on her 2005 debut album, The Way It Is, before being released as the project’s fourth and final single on January 6, 2006. The record held special significance for Cole, who believed it could help her secure a record deal. Her performance of “Love” for A&M Records president Ron Fair ultimately helped her land a contract, setting the stage for her rise as one of R&B’s most recognizable voices. “Love” became Cole’s breakthrough hit, reaching No. 19 on the Billboard Hot 100 and climbing to No. 3 on the Hot R&B/Hip-Hop Songs chart. The single was certified platinum by the Recording Industry Association of America, cementing its place among her signature recordings. Its heartfelt lyrics captured the vulnerability of loving someone despite infidelity and the fear of not being good enough. Cole’s raw, passionate delivery connected with listeners who recognized the complicated emotions behind trying to hold a relationship together. The song’s success helped establish her as a major force in contemporary R&B, paving the way for further hits, including 2007’s “Let It Go.” The song’s accompanying music video, directed by Benny Boom, added another layer to its appeal, featuring actor and singer Tyrese Gibson as Cole’s love interest. Filmed in various New York City locations, the cinematic clip follows a woman caught between her feelings for a man and suspicions about his criminal activities. The storyline unfolds through a police stop, a news report revealing his involvement in a bank robbery and a final confrontation in which he promises to change. The video became a regular fixture on BET’s 106 & Park, remaining on the countdown for 65 days before its retirement in April 2006. Nearly two decades later, “Love” remains a fan favorite and a powerful reminder of Keyshia Cole’s impact on 2000s R&B.