Muyiwa Awoniyi, manager of Grammy-winning Nigerian singer Tems, has shed light on the economic imbalance affecting music streaming revenue in Nigeria, providing a sobering look at how geography drastically influences musicians’ earnings.
Speaking during a recent episode of the Afrobeats Intelligence podcast, Awoniyi revealed that artists whose primary audience is based in Nigeria earn significantly less from streaming platforms than those with listeners in economically advanced nations.
According to Awoniyi, a staggering one million streams from Nigerian listeners equates to approximately $300, a far cry from the $8,000 to $10,000 the same number of streams generates in Sweden — Spotify’s country of origin.
“Do you know how much a million streams is worth out of Nigeria? It’s $300. I am telling you facts,” he stated. “It is ₦900 to subscribe to Spotify in Nigeria, and Spotify treats things territorially.”
Awoniyi attributed this disparity to two major factors: the low subscription fees for streaming services in Nigeria and the country’s struggling economy, which reduces purchasing power and affects the overall valuation of Nigerian-based intellectual property.
He further emphasized that he had understood the risks long before managing Tems, recalling his experience managing singer Nonso Amadi. “The trickle-down effect of the economy is going to hit the citizens regardless. Your purchasing power is going to be limited,” he said.
Awoniyi’s revelation aligns with similar statements made recently by Burna Boy, who urged fellow Nigerian artists not to depend solely on domestic streaming income. Instead, he advised them to invest in building global audiences to earn sustainable revenue from music.
This economic reality presents a harsh challenge for upcoming African artists whose fanbase is primarily based in their home countries. While streaming platforms have democratized access to global audiences, the value of streams is still tied to regional economics, reinforcing inequalities between musicians in different parts of the world.
Spotify, Apple Music, and other DSPs (Digital Streaming Platforms) calculate payouts based on subscription rates in the listener’s country, meaning artists in nations with weaker currencies and economies will continue to earn less — even with high play counts.
As Tems continues to rise as a global music icon, her manager’s insights are a timely reminder of the structural issues facing African creatives in the digital economy. For industry players and policymakers alike, this underscores the urgency of building stronger monetization structures and expanding global market access for local talents.
The conversation sparked by Awoniyi may serve as a catalyst for deeper discussions around fair compensation, digital equity, and long-term sustainability in the African music ecosystem.
