Over the past few years, access to digital music platforms has changed what is possible for artists in countries such as Togo. A musician no longer needs to be based in Paris, London, Lagos or Johannesburg to place a release on Spotify, Apple Music, YouTube and other international services. In theory, the distance between a young artist in Lomé and a global audience has become much smaller. But access to streaming platforms is only the beginning. Distribution is not the same thing as career development, and uploading a song is not the same thing as building a sustainable music business.

Through my work in digital distribution and artist development in Togo, including projects involving more than 50 artists, I have repeatedly seen the same challenge: talent is present, ambition is present and digital access is improving, but the professional infrastructure around the artist is still developing.
For many emerging artists, the first question is how to get a song online. The more important questions come afterwards. Is the release properly prepared? Is the metadata accurate? Is the artist’s identity consistent across platforms? Is there a realistic release strategy? Are the rights and credits clearly documented? Is there a media plan? Is anyone studying the data after release and using it to make the next decision?

The author working across different devices to produce music from Togo and the continent.

These details may appear technical, but they can determine whether an artist builds a catalogue and a career or simply releases songs that disappear into an enormous digital marketplace. This is why smaller African music markets need to think beyond streaming. The next stage is infrastructure.

First, artists need stronger professional preparation before release. A good song should arrive on digital platforms as part of a structured project, with correct information, artwork, credits, promotional assets and a clear timetable. Too often, the marketing conversation begins only after a song has already been released.

Second, artist development and management need greater attention. Many talented musicians are expected to become performers, managers, marketers, content creators and business administrators at the same time. That is difficult even in mature music industries. Developing more managers, distributors, media professionals, booking agents and project coordinators around artists can create stronger careers and reduce the pressure on musicians to do everything alone.

Third, local and regional media remain important. Global platforms can distribute music internationally, but audiences still need stories, context and trusted cultural voices. Strong African music journalism can help document careers, explain new movements and connect artists to audiences beyond short social-media trends. Media visibility should not be treated simply as promotion; it is also part of building a documented cultural history.

Fourth, Togo can benefit from deeper regional connections. Our market should not be viewed in isolation. There are natural cultural and commercial links with Ghana, Benin, Côte d’Ivoire, Burkina Faso, Nigeria and other West African countries. Collaborations between artists are useful, but collaborations between managers, distributors, media organisations, event producers and other professionals can be just as important.

Finally, the industry needs more education around rights, data and long-term planning. Digital platforms generate information about where listeners are located, which songs are being discovered and how audiences respond. Used correctly, this information can guide touring, promotion, collaborations and future releases. At the same time, artists need a better understanding of ownership, credits and the administrative side of their work.

Togo does not need to copy another country’s music industry exactly. Its ecosystem can develop according to its own realities, languages, cultural traditions and market size. But some principles are universal: artists need professional teams, reliable information, strong networks, good documentation and strategies that continue beyond the day a song is uploaded. Streaming has opened an important door. The challenge now is to build the structure that allows more artists to walk through that door and
remain in the industry for the long term.

That is where I believe the next phase of Togo’s music economy will be decided: not only on the platforms themselves, but in the professional ecosystem built around the people creating the music.