Would singer-songwriter Kikimoteleba be the first Ivorian rapper to get a "gold disc" for his single Tigini? This was the question all Côte d'Ivoire's music enthusiasts were asking on social networks in mid-March after the artist's catchy hit exceeded 15 million listens – the threshold for such an award – on streaming platform Spotify.
It was a record number of plays for a "Rap Ivoire" artist, the new wave of hip-hop that first emerged in the 2010s in Abidjan. Before him, only Ivorian dance band Magic System and reggae singer Alpha Blondy had reached – and exceeded – this figure.
In the end, Kikimoteleba was not awared a gold disc. The problem was the French certification criteria. The 15 million listens must come from premium, subscriber accounts belonging to users based in France. The vast majority of Tigini fans have free accounts and are scattered all over the world.
"Whether it was premium streaming or not, give the first gold disc for Ivorian rap to Kikimoteleba!" demanded fellow "Rap Ivoire" star Didi B, in vain. Other disappointed fans proposed the idea of creating Côte d'Ivoire's own certification to celebrate the success of the country's own artists which would no longer depend on external listens.
Other sources of income
The buzz surrounding his achievement has highlighted the growing interest in music streaming in Côte d'Ivoire. Although official figures for measuring the phenomenon are unavailable, artists, distributors, producers and labels operating in this universe confirms a growing momentum.
"I've been sensing this change coming for two to three years," said Guy-Constant Neza, Ivorian label manager at Believe Digital, the world's leading music distribution company that delivers content to nearly 70 platforms. For him, there is "a double awareness among our artists, of both the limits of the existing model and the opportunities that streaming offers."
Until now, Ivorian artists have released their tracks — previously on CD, now on social networks — and broadcast their videos online, hoping to gain enough notoriety to be approached by brands and make a living from advertising, concerts and private events. Live performances represented nearly "80% of Ivorian artists' income," said Mr. Neza.
But the gradual disappearance of CDs, the impact of the Covid-19 pandemic, the low monetization of YouTube content in Côte d'Ivoire and the democratization of streaming platforms have convinced artists and their producers to turn to the digital realm.
How to monetize music
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