For so many years, several record labels have faced criticism for holding back artistes’ releases, with some even going more than five years without dropping new music. In 2012, news of multi-award-winning Ugandan rapper Keko signing with Sony Music Entertainment Africa broke the web, as the first artiste from East Africa was signed to a multi-album and full management deal with a major record label that includes other superstars such as Alicia Keys, Pink, Usher, Christina Aguilera, Pitbull and Chris Brown among many others. Three-and-a-half years down the road, after signing the deal, Ugandans and music lovers at large forgot Keko existed and it was not long before she took to X, formerly Twitter, and said, “It has been three and a half years at this label and there are no gigs, no cheques, no publishing, enlighten me on that. What should I do?” Rwanda’s music industry right now is also experiencing many changes and worth to be noted is the way musicians are moving on from former managements or record labels to creating their own management structures or even going totally independent. Since the year began, two of Rwanda’s prominent artistes Ross Kana and Kenny Sol parted ways with 1:55AM record label, also one of the country’s biggest management lines...and it keeps crossing to other players in the industry. Renowned vocalist and instrumentalist Mike Kayihura also recently revealed that he had been unable to drop new music lately due to a contract he signed that restricted him from dropping his own music for three years. Kayihura hasn’t released a song since his breakthrough track “Tuza” in March 2022 but recently made a big comeback after terminating a contract with former management. According to Kenny KShot, a renowned Rwandan rapper and owner of the Intare Soundwave label, artistes need to take time properly to understand the music business before diving into any deals. It's important to learn how the industry works. While many artists are eager to sign with labels for financial support and exposure, they often overlook the fine print. 360 deals are becoming more common, and these can lock artists into contracts that take a share of nearly everything they earn, KShot told The New Times. KShot further urged artists to take control of their careers instead of waiting for a label to give them the green light. “Learn the game, grab the reins, and make the most of your opportunities. It’s really that simple, he said. On the other hand, Clément Ishimwe, CEO of Kina Music—one of Rwanda’s top record labels—highlights a different challenge. He notes that Rwandan artists and labels are increasingly attracting interest from foreign record labels and distribution companies, which often comes with stricter contracts and more complex requirements. “This attention is good—it shows the world is watching Rwanda. But it also means we need to be smarter,” Ishimwe said, adding, “As interest grows, especially from international players, it’s crucial to involve legal professionals at every stage of negotiation. That’s the only way to ensure artists are protected from exploitative or unclear contracts.” Bille Ekongolo Mats, a Cameroonian copyright lawyer based in Kigali, strongly believes the solution to ongoing tensions between artists and labels lies in consulting legal professionals especially people who understand both contract law and the music industry. Ekongolo stresses that artists should pay close attention to key contract elements such as duration and termination clauses, operating territory (where the contract applies), and intellectual property ownership (who owns the music and branding), among other critical details. He also emphasizes that, in principle, a record label does not have a claim to an artist’s publishing rights (copyright). “A record label is not a publishing company,” Ekongolo explains. “They cannot automatically claim the artist’s copyright. Artists need to know their rights and never assume otherwise.”
