Mr Eazi Expands emPawa Africa’s Vision: A New Era for African Music Rights Ownership
In a bold move that could shape the future of African music business, Afrobeats superstar and entrepreneur Mr Eazi has announced plans to actively acquire music catalogues across the continent through his company, emPawa Africa. Speaking on his official X (formerly Twitter) account on Monday, September 15, 2025, Mr Eazi issued a call—especially targeted at catalogue owners and rights holders with proof of ownership and a documented earnings history—urging them to partner with his growing enterprise.
In his own words: “Btw I’m buying catalogues so if you got African music catalogue that you own (with proof) and you have 3 years earnings history and you wanna sell a piece contact @emPawaAfrica,” he wrote. This public invitation reflects more than just a business play; it signals the next stage in emPawa Africa’s ambition to become a central force in retaining, managing, and monetizing African music heritage from Lagos to Accra and beyond.
The Growing Market for Music Catalogues
Much like developments seen in the US and European markets, the acquisition of music catalogues—full collections of an artist’s released works—has become a lucrative strategy for both record labels and investors. In recent years, global heavyweights have spent billions buying catalogues of legendary acts, attracted by stable revenue streams from streaming, licensing, and sync deals. According to Billboard, music catalogue sales reached record highs globally in 2023, with African catalogues increasingly drawing attention thanks to the continent’s digital growth and genre resurgence.
For the African industry, however, the stakes are even higher. Rights to classic hits, emerging anthems, and back catalogues offer not only income but control over local content, cultural memory, and intellectual property. Music experts such as Lagos-based business analyst Yemisi Bolanle argue that, “Keeping ownership of our sound within Africa ensures artists and investors benefit directly, rather than seeing profits exported overseas.”
What Mr Eazi’s Bid Means for Musicians and Rights Holders
Mr Eazi’s approach is unique in that it requires sellers to substantiate their claims—not only with proof of ownership, but with at least three years’ worth of earnings history from the catalogue in question. This selective strategy likely targets established rights holders, former label executives, or artists with a proven track record of commercial success, rather than smaller or uncertain portfolios.
- For musicians, this could mean new opportunities for securing significant upfront capital, allowing them to reinvest in their careers or other projects.
- For the industry, consolidating catalogues under African management—rather than foreign conglomerates—may set a new precedent for how creative rights are preserved and monetized on the continent.
- For fans, it boosts the likelihood that African classics, lost gems, and independent releases remain accessible and properly compensated.
Strengthening emPawa Africa’s Role on the Global Stage
This initiative builds on emPawa Africa’s recent structural changes, including the appointment of Miller Williams as the company’s new Head of Publishing. Williams’ remit includes expanding the catalogue, exploring licensing opportunities, and introducing more African sounds to international platforms. emPawa, already celebrated for nurturing the careers of stars like Joeboy, has made clear that its next frontier is not just in launching new artists—but also in ensuring the legacy of African music is carefully managed for future generations.
For West African audiences, this is a big signal—especially as many local music legends express regret over lost royalties and lack of control. “I wish something like this had existed when we started,” says Ghanaian music veteran Nana Kwame. “Too many of us signed away rights years back and have watched others profit from our labour. This idea could be a real game-changer.”
Potential Challenges and Industry Reactions
While this strategy is promising, there are hurdles to navigate. Ownership verification, fair valuation of catalogues, and potential legal disputes over song rights are common issues in the industry. Intellectual property lawyer Ifeanyi Chukwuma cautions: “Not all claims are straightforward, and back catalogues might be contested or tied up in old contracts. Due diligence is critical.”
Industry reception has so far been positive among local stakeholders and artists. Emerging acts see it as an endorsement of African music’s value, while established record labels are keenly watching to see how transparent and successful the new acquisition drive will be. For rights brokers and music economists, the development points towards increased liquidity and professionalization of the fast-growing African music sector.
What Does This Mean For The Average African Listener?
For everyday fans in Nigeria, Ghana, or the larger African diaspora, Mr Eazi’s plans could mean easier access to beloved tracks and more locally relevant playlists on streaming platforms. It may also inspire conversations about music ownership, artist welfare, and preserving African digital heritage. As streaming and mobile data usage continue to grow on the continent—Nigeria currently boasts over 100 million active internet users, with streaming revenue projected to climb year-on-year—the scramble for catalogue rights is set to intensify.
Comparative Perspectives: African Talent vs International Players
Unlike Western markets where well-capitalised firms dominate catalogue acquisitions, African players like emPawa Africa are pushing for self-determination. With Mr Eazi at the helm, the company is uniquely positioned to combine international expertise, local understanding, and community trust. This could ultimately spark a wave of similar moves by other African entrepreneurs or even state-backed cultural organisations aiming to keep music revenue circulating within the continent’s creative economy.
According to Musa Ahmad, a music business consultant in Abuja: “It’s about more than money. It’s about control, cultural pride, and inspiring the next wave of African creators and executives. This is a strong statement—it tells the world that African music isn’t just for export; it’s for investment too.”
The Road Ahead: Will This Transform African Music?
With growing digital access and a global audience increasingly attuned to Afrobeats, Afro-pop, and traditional genres, the commercial stakes are high. If emPawa Africa’s approach proves successful, more local investors and artists may follow. The question remains: how will legacy and emerging artists negotiate new deals, and what standards will be set for future acquisitions?
Mr Eazi’s commitment is clear—he aims not just to expand his own catalogue, but to ensure that African artists and stakeholders benefit long-term from the success of their music. For now, the response is one of optimism, anticipation, and a sense that an important conversation about rights, revenue, and recognition is underway—one that could change the African music landscape for good.
Are you an artist or rights holder interested in this opportunity? emPawa Africa continues to welcome potential partners. Only time will tell just how transformative this catalogue acquisition move will be for Nigerian, Ghanaian, and African music at large.
Btw I’m buying catalogues so if you got African music catalogue that you own ( with proof ) and you have 3year earnings history and you wanna sell a piece contact
https://twitter.com/emPawaAfrica?ref_src=twsrc%5Etfw— Don Eazi (@mreazi)
Btw I’m buying catalogues so if you got African music catalogue that you own ( with proof ) and you have 3year earnings history and you wanna sell a piece contact @emPawaAfrica
— Don Eazi (@mreazi) September 15, 2025
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