The Johannesburg-headquartered unit, Downtown Music Publishing Africa, has launched following the rebrand of Sheer Publishing Africa.
Sheer was acquired by DMP mum or dad Downtown Music Holdings in 2020, formally increasing the corporate’s geographic footprint to the African continent.
Efficient in the present day (Might 27, 2025) DMP mentioned that the rebrand alerts “greater than a visible refresh” and marks “a deeper alignment with the worldwide imaginative and prescient” of Downtown Music Publishing.
Downtown Music Publishing Africa will proceed to be led by Managing Director Thando Makhunga, having initially joined Sheer as MD in 2022.
As a part of the rebrand, DMP mentioned that Downtown Music Publishing Africa will roll out an expanded suite of companies.
This consists of the introduction of Neighbouring Rights Administration, which DMP famous, “will create new revenue streams for performers and rights holders throughout the continent”.
“This can be a transformational second, not just for us however for music rights administration on the continent.”
Thando Makhunga, DMP Africa
DMP Africa will even be the primary writer in Africa to implement Curve, Downtown’s international royalty accounting system, which it acquired in 2023.
“This can be a transformational second, not just for us however for music rights administration on the continent,” mentioned Makhunga.
“The rebrand isn’t simply beauty – it’s about redefining what it means to be a music publishing associate in Africa. African music is shaping the worldwide sound, and we’re right here to make sure that royalty flows throughout borders – giving creators the remuneration and respect they deserve.”
“By means of DMP Africa, we’re investing not simply in infrastructure, however in long-term relationships that may form the way forward for the music business.”
Emily Stephenson, DMP
Commenting additional on Sheer’s rebrand and the official launch of Downtown Music Publishing Africa, Makhunga advised MBW that “on a really operational stage [there will be] far nearer alignment on methods and processes.”
Added Makhunga: “That features our finance and other people administration methods, the royalty accounting and copyright administration software program that we use – one of many issues that we’re going to be rolling out this 12 months is Curve – so we’re all going to be on the identical platforms, have nearer alignment on settlement templates and [a more aligned] method from a enterprise philosophy perspective”.
In accordance with in the present day’s announcement, DMP Africa will acquire entry to Downtown’s royalty administration and consumer companies via Downtown’s worldwide infrastructure, enabling it to drive what DMP claims to be a “larger cultural influence and unlock new alternatives for creators throughout the continent, in addition to for international publishers and rights holders working in and past Africa.”
The corporate mentioned that DMP Africa’s expanded focus is “already mirrored in a rising roster of worldwide partnerships”.
DMP Africa famous that it really works with international shoppers akin to Warner Chappell, Harmony, in addition to different impartial publishers on the continent, together with Sintonia (Angola), Vuga Music (Nigeria/U.S.), Murmure Publishing (France), Bucks Music Group (UK), and Saregama (India).
Based in 1996, Sheer Publishing Africa has constructed what DMP calls “an esteemed catalog of South African compositions and worldwide titles”.
The 30-year-old firm has labored with creators throughout genres from Amapiano to Afro-Jazz, Kwaito to Hip-Hop.
“Africa is among the most dynamic inventive areas on the earth,” mentioned Emily Stephenson, President of Downtown Music Publishing.
“By means of DMP Africa, we’re investing not simply in infrastructure, however in long-term relationships that may form the way forward for the music business.”
“This marks an necessary new chapter in our presence throughout Africa, a area wealthy in creativity, tradition, and expertise.”
Pieter van Rijn, Downtown Music
Pieter van Rijn, CEO of Downtown Music, mentioned: “This marks an necessary new chapter in our presence throughout Africa, a area wealthy in creativity, tradition, and expertise.
“DMP Africa displays our perception within the area’s inventive energy and our accountability to help its continued growth.
“By partnering native experience with international entry and investing in long-term, equitable partnerships, we’ll make sure that expertise from throughout the African diaspora is rewarded on a worldwide scale.”
Under, Thando Makhunga, Managing Director of Downtown Music Publishing Africa, and Emily Stephenson, President of Downtown Music Publishing, inform us extra concerning the rebrand, challenges out there, and their predictions for the long run.
Are you able to describe the precise modifications that your companions will expertise every day going ahead, in comparison with after they had been beneath the Sheer publishing model?
Thando Makhunga: One of many issues that we struggled with when Sheer was a standalone impartial writer was revenue monitoring globally. Already, simply via the nearer alignment between our varied copyright departments internationally, we’ve been in a position to begin seeing these revenues come via for our creators, not simply in South Africa, however West Africa and East Africa. So I feel they’ve already began to see that tangible influence.
The opposite factor, which is actually necessary for us, is to begin exposing our catalog, our writers, and our creators to new markets. We’re working, for instance, very carefully with DMP on a product referred to as Downtown Clear, which mainly opens up a whole sync and artistic business to us that wasn’t available, significantly on manufacturing music.
Now we have a catalog referred to as Skumba, which represents African Manufacturing Music courting again to the ’60s. We simply haven’t been in a position to crack the US marketplace for that catalog. The manufacturing music house is a really powerful business, and it’s not straightforward to entry the most important markets on the earth. I feel that’s one thrilling alternative.
The opposite one we’re going to introduce is Neighboring Rights, which additionally falls beneath the Downtown publishing ambit of companies. We’re tremendous excited to lastly be capable of handle neighboring rights as properly, not simply in South Africa however on the continent, over and above the publishing rights that we’re administering.
The neighboring rights addition is actually fascinating. Do you will have any ballpark predictions for the income influence that you just see for creators over the subsequent 12 to 24 months?
Emily Stephenson: Neighboring rights is a tricky enterprise. It’s sophisticated. It may be a bit antiquated in course of at occasions. It’s a income alternative, completely, however for us, we actually wish to make sure that as we’re launching Downtown Music Publishing Africa, we wish to be sure that we’re in a position to supply a set of companies that covers all of the rights that creators and copyright house owners in that territory personal.
We do really feel like will probably be impactful, and as Thando talked about, we’ve our estimations for that. However greater than something, the impetus wasn’t essentially a income play. It was the best way to grow to be the complete suite of companies for copyright house owners in Africa. In order that was actually the imaginative and prescient there.
Downtown Music Publishing Africa would be the first writer in Africa to make use of Downtown’s royalty system, Curve. What ache factors within the present royalty panorama throughout the African continent will this resolve?
Thando Makhunga: One of many challenges that we face in Africa, however I’ll begin with South Africa, which, thoughts you, has a much more entrenched rights administration ecosystem – are points round correct reporting, so the standard of statements that we’re in a position to ship to our shoppers, transparency, and ease of entry to info.
The wonder about Curve is that it’s clearly a Downtown-owned entity. We’ve had a lot enter into designing a publishing resolution that is smart for a variety of customers.
Not solely can we communicate to impartial creators in Africa, however we additionally act as a sub-publisher for very massive worldwide catalogs. So, the design of the device goes to be very sturdy and can permit us to be way more environment friendly throughout the spectrum of our consumer base.
I’m hoping our shoppers will respect simply how way more rapidly we’re in a position to resolve issues, and that we’re not utilizing archaic methods. It’s a system designed for the long run.
The press launch mentions that African music is shaping the worldwide sound. How is Downtown positioning itself to capitalize on genres popping out of South Africa and wider Africa, and what income alternatives do you see out there that others globally may be lacking?
Thando Makhunga: We’ve already began way more proactive engagements, significantly with the A&R crew, [but also with] inventive groups on sync and licensing alternatives.
After I talked about earlier round us all utilizing totally different methods; it feels like a minor matter, however the capacity for somebody in New York, in the event that they’re on the lookout for info on Afrobeats, or Amapiano or an East African style, that they require rapidly to license or sync – or envision an American consumer who needs to collaborate with or pattern african music – having methods and databases which might be aligned, even at an operational stage, creates extra alternatives for our writers.
Clearly, Downtown Music, DMP Africa, and Downtown Publishing handle a whole bunch of 1000’s of titles. So, accessing info globally might be helpful to our territory.
The acquisition of Sheer in 2020 was very daring on the time, as a result of I don’t assume anybody would have anticipated that Africa can be the place it’s now, when it comes to the likes of Tyla and Tems and all of those Billboard charting hits from the continent that includes frequently within the US market.
So, I feel Downtown Music may be very properly positioned for the long run, whether or not it’s in South America, Asia, or Africa. Downtown Music Publishing Africa goes to play a giant half in that success story.
Would you say Downtown was forward of different firms when it comes to investing in Africa by way of that Sheer acquisition?
Thando Makhunga: Completely, as a result of we’re solely seeing it now. We work primarily with impartial creators, and people are the individuals who will let you know what’s actually taking place within the business and what’s actually wanted out there. I’m enthusiastic about it, and even this determination to align extra carefully may be very future-forward.
We spoke a bit concerning the ache factors within the royalty panorama – what different challenges are you seeing within the publishing market, in South Africa and the broader African continent that you’re both involved about, or excited about, and addressing?
Thando Makhunga: The most important problem for the time being is that there’s growing fragmentation throughout the continent. We’re beginning to see it even between international CMOs, if I may describe it that manner. Licensing is beginning to grow to be fairly sophisticated, whereas within the extra established markets, it’s extra of a one-stop resolution to your licensing.
So I feel DSPs, the likes of Apple and Spotify, and all of these platforms that are actually rising very properly on the continent, are additionally beginning to discover friction out there throughout the assorted areas.
The fragmentation throughout 54 nations — and the assorted complexities that include that — makes it difficult for us as publishers, which is why it’s so necessary for us as an business to maneuver in the identical route.
Emily and I’ve had many conversations about this, simply when it comes to what’s taking place with collective administration globally. We’ve mentioned how to make sure that we’re gathering effectively and dealing with the precise individuals within the totally different territories as a result of it’s a very dynamic and complicated panorama.
Emily Stephenson: I’d additionally simply add particularly in South Africa, for therefore lengthy, there have solely been a few revenue sources, however different rights societies and hubs are additionally beginning to respect the chance within the area. Greater than ever earlier than, we’re seeing competitors within the licensing and assortment panorama within the territory. That’s one motive why it’s so necessary for us to align these companies. A extremely nice associate for DMP and different components of the world may be coming to South Africa or different components of Africa to license or to choose up some rights.
It’s a terrific alternative for Thando and me to have the ability to talk about how our expertise with one licensing hub has been and if they’re a superb possibility for us in African territories. Pondering globally has been actually helpful for us. So whereas at occasions it has been a bit fragmented and appears like there are all these new gamers within the recreation. It’s additionally such a possibility for us that may really feel overwhelming if we don’t take this international method.
It’s such a possibility for us, and that’s another excuse why we wished to do that.
Wanting forward over the subsequent two to 3 years. What does success seem like for the rebranded Downtown Music Publishing Africa?
Thando Makhunga: We spent a number of time crafting a imaginative and prescient for the present course of, and we landed on this phrase, which is “bringing Africa to the world and bringing the world to Africa.”
So, from my perspective, I’m an enormous champion for African creators. As I discussed in my instance about Manufacturing Music, we signify super-talented composers who I imagine are world-class, and I need them to have entry to US markets with the help of Downtown.
We’re simply as keen about them, and equally, to search out alternatives for Downtown creators and instruments. And even past publishing in Africa, I feel an excellent place can be in three years time, potential and really viable and in addition very worthwhile, as a result of, in the end, it’s a inventive enterprise. In order that, for me, can be a measure of success is that it’s a much more built-in workflow stream of rights and income very precisely and really easily.
Emily, is there the rest you assume we must always know concerning the rebrand, or DMP’s plans in Africa?
Emily Stephenson: The rebrand will in all probability be probably the most tangible aspect of this initially, however we hope and anticipate that our shoppers and the business, each regionally and globally, will actually really feel the influence of this alignment.
Thando touched on so many components of it, however there’s a lot alternative from the again workplace operations, like our copyright, royalties, revenue monitoring, knowledge groups, and all of our expertise groups, to our Curve integration. There’s additionally a lot creativity between sync, manufacturing music, A&R, and advertising and marketing basically.
Clearly, there’s a rebranding aspect to this, however it is a full integration between two long-standing, impartial, unbelievable companies. Now we have a number of expectations for what we predict the alternatives are, however I’ve little question that much more might be uncovered as we transfer via this course of.
Our groups are actually enthusiastic about it. Internally, everybody’s pumped about it. It’s an enormous testomony to what Thando has created in what appears like a short while she’s been main this crew.
It’s wonderful to see it come to fruition on this manner. I’m very bullish on the alternatives it would unlock for each companies.Music Enterprise Worldwide
