In the vibrant world of Ethiopian music, the early years of digital music promised a golden era. Artists dreamed of a future where their rhythms could reach every corner of the globe, and fans felt closer to their favorite musicians than ever before. It was a time of hope, where music streaming platforms opened doors to endless creativity and connection. But as the years have rolled on, the once lively beat of this digital revolution has slowed. What began as an exhilarating journey into uncharted territory now faces hurdles that threaten to silence the once boundless potential. Addis Insight dives deeper into the fall of music streaming platforms and uncovers what it could mean for the rhythm and soul of the music industry in our country.
Digital music, delivered via the internet, includes paid downloads of tracks or albums and on-demand streaming services (subscription-based or ad-supported). It is projected to rise from $36.2 billion in 2023 to $44.6 billion by 2027 (Statista). Music streaming giants like Spotify, Apple Music, and Amazon Music make MP3 collections feel obsolete and stone age, offering expansive libraries, tailored playlists, and sleek experiences. These platforms use sophisticated algorithms to match personal tastes and lure subscribers with exclusive content and features.
Ethiopia, a country where music is more than just sound, it’s the heartbeat of a nation. For generations, the melodies of traditional instruments and the vibrant beats of modern tunes have echoed through the streets, telling the stories of a rich and diverse culture. As the digital age dawned, there was a sense of anticipation in the air. Social media and digital platforms promised to bring Ethiopian music to new heights, connecting artists and fans like never before. The emergence of local music streaming platforms like Awtar and Sewasew felt like the beginning of a new era for the industry. However, the road ahead has proven to be more challenging than anticipated.
Founded in 2016 by Elias Melka, Yohannes Bekele (Johnny Ragga), and Hailemichael Getnet (Haile Roots), Awtar Music App aimed to showcase Ethiopian music globally in Amharic, Oromiffa, and Tigrigna. Sewasew followed on December 8, 2022, helping artists reach wider audiences while retaining control over their work. Both platforms spotlight the challenge of balancing accessibility with copyright protection, stressing the need for systems that safeguard artists’ rights. Sewasew features iconic Ethiopian singers like Aster Aweke, Girma Tefera, Abinet Agonafir, and Tadele Gemechu.
ArifZefen is another notable music streaming platform, providing the most extensive Ethiopian music collection. Launched in 2017 by a California-based company with a presence in Ethiopia.
As the initial buzz wore off, Awtar was absorbed by Sewasew Multimedia, which now finds itself struggling. With artists increasingly turning to YouTube and the Telegram music bot Kaset, Sewasew faces mounting challenges. ArifZefen, a streaming platform that served for over a decade, quietly shut down a few years ago with a simple farewell on social media.
Alongside the challenges mentioned, many artists are also making their income from concerts and live performances. To catch the eye of promoters, they focus on building their digital presence and enhancing their visibility. This shift means they’re less inclined to be tied down by streaming platform deals. The once-promising prospects now seem overshadowed by the allure and profitability of these platforms, leaving Sewasew grappling with the shifting tides of a rapidly evolving music landscape.
“Awtar was not functional as a technology product,” said an anonymous person close to Ethiopian music. He noted that despite its revolutionary concept, the app had unattractive buttons, inefficient UI design, and payments were made via mobile airtime. Additionally, artists received only a small percentage of the revenue.
Addressing why Sewasew Multimedia is struggling, he commented, “Though the app’s appearance, investment, and marketing were commendable, Sewasew’s main issue is its desire to fully own the music, while many artists now prefer to keep ownership of their songs.” He further explained, “They also began introducing new artists without offering diverse catalogs, which drove audiences away to YouTube in search of their preferences.” Although Sewasew started posting songs from legendary artists, he noted that the audience had already moved on.
Previously, many artists underestimated the full potential of YouTube, opting instead to sell their music to production companies and platforms like Sewasew Multimedia. But times are changing. Artists are now taking the reins, launching their own YouTube channels, and connecting directly with their fans. YouTube opens doors to a vast global audience and provides valuable insights into fan locations, demographics, and viewing habits. This shift not only allows artists to earn revenue over time through views but also offers a chance for their music to become a lasting legacy, reaching their grandchildren and future generations. It empowers them to connect more deeply with listeners and promote their music on their own terms.
“Owning your music is a new system,” said the anonymous singer. He explained that as the music industry becomes more of a free market, artists posting their songs on their own channels can enjoy several benefits. For one, there are no strict quality requirements to meet, the music can be entirely in your style. However, the downside is that you won’t receive quick cash upfront. “In the past, artists saw YouTube as a risky option and often chose the immediate payout from selling to music production companies and streaming platforms,” he observed. He also noted that audiences are now increasingly searching for artists’ personal channels, which encourages musicians and gives them the confidence to share their work on YouTube without fear.
Several artists state that most of their earnings come from live performances and tours. To get noticed by the public and booked by promoters, they want to improve their social media presence, which includes owning their work on platforms such as YouTube. For instance, Yohanna mentions how he released his album for free on social media, knowing he could make up his album earnings with just two concerts.
Recent albums like Meteryaye (መጠሪያዬ) by Veronica Adane, And Kal (አንድ ቃል) by Michael Belayneh, Addis Arada (አዲስ አራዳ) by Lij Michel, Pa (ፓ) by Abdu Kiar, Yingalish (ይንጋልሽ) by Wendesen Mekonnen (Wendi Mak), Gaaffii Koo by Gutu Abera, Leul (ልዑል) by Leul Sisay, Zetetgn (ዘጠኝ) by Rophnan Nuri, Enderase (እንደራሴ) by Sinishaw Legesse, Ye Zemen Kanawoch (የዘመን ቃናዎች) by Dawit Tsige, Ye Dega Sew (የደጋ ሰው) by Yemariam Chernet (Yema), and Yohana (ዮሐና) by Yohana Ashenafi are making waves on artists’ personal YouTube channels. Meteryaye (መጠሪያዬ), Yingalish (ይንጋልሽ), Gaaffii Koo, Enderase (እንደራሴ), and Yohana (ዮሐና) also feature on Kaset, the Telegram music bot, giving them an extra boost. Tracks like Bilile by Andualem Gosa, Yitaral (ይጣራል) by Fitsum T, and Endatefash (እንዳጠፋሽ) by Micky Hasset are also gaining traction on their personal YouTube channels.
Meanwhile, albums such as Mayaye (ማያዬ) by Lemlem Hailemichael, Enizra (እንዚራ) by Mastewael Eyayu, Malefiya (ማለፊያ) by Bisrat Surafel, and tracks like Enen Bilo Akurafi (እኔን ብሎ አኩራፊ) by Estifanos Tomas, Sake Kurfiyaye (ሳቄ ኩርፊያዬ) by Jonathan Daniel (Jon Daniel), Senbide (ሰንቢደ) by Selamawit Yohannes, Koyen Kayen (ቆየን ካየን) by Mickiyas Nigussie, Yemenenua (የመነንዋ) by Seyumkal Gebre, and Ewedishalew (እውድሻለሁ) by Addis Legesse shine on YouTube channels of production houses like Nahom Records, Ella TV, Hope Entertainment, and Minew Shewa Entertainment.
During an interview with Kana TV, the iconic singer Michael Belayneh emphasized the growing importance of YouTube for singers. “For those who can manage their expenses,” he noted, “YouTube offers the best opportunity to generate long-term revenue.”
An additional challenge for music streaming platforms is the rise of Kaset, a Telegram music and audio bot that is gaining traction among artists. Kaset offers a fresh, user-friendly way to share music directly through a popular messaging app, providing multiple options that make it easy for fans to discover and enjoy new releases.
On EBS’s “Kidamen Kesat,” Yohana, a prominent singer and Kaset ambassador, praised the platform for its wide reach. He said, “Although Telegram lacks strong copyright protections, it connects to a massive audience since nearly everyone uses it.” Comparing Kaset to YouTube, Yohana noted, “One sale on Kaset can equal 1,000 YouTube views.” He explained that artists can earn significantly with fewer sales on Kaset; pricing a track at ETB 100 could yield ETB 1.5 million from 15,000 sales, and 100,000 sales could generate ETB 10 million. Yohana emphasized that Kaset does not restrict artists, who can also share their music on YouTube if desired, and mentioned the availability of a pre-sale option.
Nahom Belayneh, the founder of Kaset, highlighted that the platform tackles key challenges faced by artists, especially those overly dependent on YouTube, which he considers insufficient for generating significant revenue due to the need for millions of views. He emphasized that platforms like Kaset are essential for boosting artist profitability. Kaset partners with Chapa Technology to safeguard copyrights by preventing unauthorized recording, sharing, and copying of artist information. “Artists can see exactly how much their songs are sold,” Belayneh noted. For audiences, Kaset offers a simple way to listen to and purchase music, distinct from YouTube’s video-centric approach. While songs are free on YouTube, buying from Kaset directly supports the artists.
Several artists also emphasize that most of their earnings come from live performances and tours. To get noticed by the public and booked by promoters, they focus on improving their social media presence, which includes owning their work on platforms such as YouTube. Yohanna, for example, mentions how he released his album for free on social media, knowing he could make up his album earnings with just two concerts.
The evolving landscape has created a divide in how artists approach the music industry. Some continue to rely on traditional production companies and streaming platforms, while others take the more independent route, leveraging YouTube, Kaset, and other digital tools to maintain control over their music and revenue. The music industry’s future in Ethiopia may well depend on how effectively these platforms can adapt to the changing preferences of artists and consumers alike.
Ethiopian music, with its vibrant rhythms and rich heritage, continues to evolve, blending traditional sounds with modern influences. Both innovative, passionate artists and profit-oriented creators are emerging, each contributing to the dynamic music scene. To thrive, artists need to embrace new trends and technologies, while technologists can play a vital role in supporting this transition. Audiences, too, have a responsibility: by avoiding illegal activities that discourage artists and choosing to support them through legitimate platforms, they can help sustain and grow the vibrant music culture.
As music streaming platforms in Ethiopia face mounting challenges, the rhythm of change continues. The ascendancy and eventual impotence of these platforms reveal the complexities of balancing innovation, artist rights, and consumer preferences in an increasingly digital world. Whether the music industry will find a new beat or fade into the background depends on how all stakeholders—artists, technologists, and fans—respond to these evolving dynamics.
