“The vision is to treat every part of Africa as somewhere we can find new music,” Marc-André Niang on Warner Music’s Inroad into Francophone Africa
The story here is not one of a new office or a new title, but of the deeper, often dirty work of building something that can last in a place long rich with talent but lacking in infrastructure.
In the early days of May, I finally caught up with Marc-André Niang, one of the co-directors of Warner Music Africa Francophone (WMAFR), to discuss the region’s growing place in the global music economy and what it means to build a new market from the ground up. Our conversation had been a long time coming. We’d known each other for about six years, and in that time, Marc had always carried his passion for Francophone African music with vim and consistency. I regard Marc as the kind of data-driven operator who knows how to talk about sound with numbers and numbers with context.
Back in 2018, Marc began his journey at Warner Music in a rather unglamorous role as Product Database and Release Coordinator. From there, he climbed the ranks, moving into the role of A&R Research Analyst and Talent Scout, before being entrusted with something as ambitious as co-leading Warner Music’s newest venture in French-speaking Africa alongside co-director Yoann Chapalain. This new initiative comes at a time when the consumption of French-language music is on the rise. Last year, Spotify revealed that more than 100 million people in non-Francophone countries are now listening to French-language music, with streams of such repertoire increasing by 94% since 2019. Now, you may see this as a natural career milestone for Marc but in truth, it feels more like a calling, and I know this first-hand.
Last October, Warner Music Group announced the formal launch of Warner Music Africa Francophone (WMAFR), a joint venture operating across both France and French-speaking Sub-Saharan Africa. It is a collaboration between Warner Music Africa, Warner Music France, and Africori - the latter being a key distribution and artist development company that Warner Music initially acquired a majority stake in three years ago, before completing a full acquisition earlier this year. The venture brings together the A&R, Digital, and Marketing teams of all three entities to “discover and develop artists, and create ground-breaking cross-cultural collaborations.”
This is part of a broader recalibration, as global music giants increasingly turn their attention to overlooked regions with untapped potential. Universal Music France made a similar move earlier in 2024 by partnering with Binetou Sylla, founder of Wèrè Wèrè Music, to launch Def Jam Africa across Francophone territories. So, while Warner Music isn’t the only major label planting a flag in this terrain, it is doing so with a model that bridges offices in Johannesburg, Paris, and Abidjan; and with leaders like Marc at the helm, who speak the languages of both business and culture fluently.
“There’s a strong cultural trade route between France and West Africa,” said Simon Robson, WMG’s President of Recorded Music for Europe, the Middle East, and Africa. “WM Africa Francophone will help us support the artists in that space, just as our 91 North venture is successfully doing with talent working a similar trade route between Canada and India.”
“There’s a lot of expectation,” Marc admits when I asked how it’s been juggling life between Paris and Abidjan. “It’s new, though not for me because I’ve studied this market from way back,” he says, grounded with conviction. “There are a lot of things we have to build - not just structurally but socially - to create the kind of environment where new, great artists can come through.”
And that, really, is the story here; not one of a new office or a new title, but of the deeper, often dirty work of building something that can last in a place long rich with talent, but lacking in infrastructure. Francophone Africa, more than being an underdeveloped market, is very much an under-documented one. For Marc, that represents both the challenge and the opportunity; and his sense of the latter isn’t abstract, it is anchored in artists. When I asked if any signings had happened under this new structure, he rattled off names such as 3xdavs, Morijah, Paulo Chakal (all from Côte d’Ivoire 🇨🇮), and Gino J from Congo 🇨🇩 as markers of intent. Each name represents the beginning of a wider network that Marc is gradually constructing across French-speaking Africa. As he spoke, he mentioned a concert happening later that day for Ste Milano, another rising act, and made a point of noting him as one to watch closely. You could compare this to a builder pointing to the beams of a house just beginning to take shape, and you wouldn’t be far from the truth.
However, I was curious about how expansive this mandate really was. Was it focused on Côte d’Ivoire as a starting point, or was the scope originally all-inclusive? Marc reiterated that his work in Abidjan is a base of operations, not a boundary. He’s keeping a close eye on talent from Congo, Senegal, Mali, Guinea, and essentially anywhere there’s movement. “When we say ‘the Francophone market’, it's a big market in terms of language,” he explained. “There are about 21 French-speaking countries, which is the highest in number compared to Anglophone, Lusophone, and the others in Africa.”
That revelation brought something else to light. Some kind of geographic disconnect I had always felt, but never actually named. In Nigeria, where I’m from, we’re bordered by Francophone countries like Benin, Cameroon, [Togo by extension]; yet it often feels like our cultural exchanges skip over them entirely. Our attention jumps straight to Ghana, the closest Anglophone country, bypassing the Francophone nations in between. Marc nodded knowingly. He has studied Nigeria, Ghana, and a considerable portion of the continent. “Why do you think Francophone Africa is sometimes under-explored by non-Francophone observers?,” he asks, not as criticism but as a reflection. “Most of the countries in Africa are French-speaking, and the music - from Morocco to Mauritania to Mali - each place brings something different.”
This breadth is central to how Marc sees his job. For him, success means thinking beyond any single country and engaging with the cultural and commercial dynamics of the entire Francophone bloc. He spoke about Cameroon, where he’s already working closely with an artist named Cysoul, currently charting in the regional Top 10. “His label is there, his management is there,” Marc said. “So, we try to connect the dots.” For Marc, beyond breaking one artist, this means creating a network strong enough to sustain multiple.
We then moved on to discuss the sound itself. What defines the music coming out of these regions? Unlike the clearly exported signatures of Afrobeats in Nigeria or Amapiano in South Africa, the sound of Francophone Africa is more fragmented. “The sound is different from country to country,” Marc said. “In the last five years, it’s been mostly rap; a local rap scene that reflects the voice of each place.” He pointed to artists like Himra (via Tieme Music), who he had previously project managed/A&R’d and who now enjoys a growing audience in France. “The audience is looking for rap artists, but not from France or the UK; rather from their own country.” The data shows a clear trend that rap dominates in these regions, followed by regional styles of Afropop. Female artists bringing melodic French pop (something akin to what Tiwa Savage or Ayra Starr are to Nigeria) also have a growing foothold, but rap remains the centre of gravity.
Now, it’s easy for anyone to assume that the rise of Francophone Africa on the radar of global music giants is simply a response to recent data. But for Marc, this move by Warner Music mirrors a vision he’s held for the longest time. “The vision is to treat every part of Africa as somewhere that we can find new music.”
This inspiration, in part, came from observing the trajectory of Latin music. Over the past decade, artists from Latin America have grown their global footprint with crazy success, often without altering their language or style. Marc sees a similar potential for Africa, but only if the infrastructure is built with intention. “Hits can come from anywhere now,” he said. “So let’s be prepared for that in every African region - Francophone, Anglophone, Arabic, Lusophone and beyond.”
He pointed to Tamsir’s breakout moment with “Coup du marteau” during AFCON, which has since been certified Platinum in France. Moments like that, he believes, aren’t flukes but missed opportunities waiting to be systematised. “Abidjan is a key point for the Sub-Saharan Francophone,” he added. “So, we're trying to build the house to receive the artists.”
But even as Warner Music plants deeper roots across the region, I wondered aloud if the structural underdevelopment of certain markets might slow progress. After all, Nigeria and South Africa have had years of label presence, global acclaim, DSP attention etc. Francophone countries like Congo or Guinea, by contrast, remain relatively uncharted territory in the global music economy. Would that imbalance pose a challenge? Unhesitatingly, Marc thinks it’s not about who’s ahead or behind in development now, it’s about what resonates. And resonance, he reminded me, doesn’t always require translation. He pointed to Wizkid and P-Square’s pan-African dominance in the early 2010s, noting how fans across the continent vibed to “Chop My Money” lyrics without really understanding them. He recalled hearing Davido’s Dami Duro for the first time in 2012 and being struck by the energy of the production, even without understanding the language.
“The world didn't speak Spanish when Despacito blew up either,” Marc added. “It’s about the music, not just the language.” For him, Francophone artists simply need to make music that speaks globally; music that connects on feeling, on rhythm, on quality. When that happens, listeners will pay attention, and digital platforms will be forced to follow. “There are 52 other [African] countries to be catered to,” he said, framing the mission as one of inclusion rather than competition with more established markets like South Africa and Nigeria.
Still, inclusion means little without infrastructure, and when it comes to digital streaming, Francophone Africa hits a brick wall. YouTube remains the most popular platform due to its accessibility and mobile-friendliness, but monetization is virtually nonexistent in most of the region. “Domestic YouTube views are not monetized in many Francophone countries,” Marc noted. “So artists celebrate millions of views, but that can mean zero revenue if most of those views are local.” Artists have to rely solely on live performance funds, case-by-case grants, and diaspora views, which typically make up only around 20% of their total numbers. “It would make a real difference if more artists openly addressed this and helped their audience better understand the situation,” Marc said.
Countries with YouTube monetization in Red and ones without, in White
Even government figures have started to weigh in, as Françoise Remarck, Minister of Culture and Francophonie in Côte d’Ivoire, recently hinted at her intention to engage YouTube and other platforms about the monetization of creators’ work in the region.
This translates to…
We will meet YouTube and other platforms to let them know that they can no longer use the works of our content creators for free
Spotify adoption in places like Côte d’Ivoire is slowly improving but still accounts for less than 30% of how music is consumed in the region. And, while revenue [from major DSPs] may be low, Marc is pushing listeners toward such platforms [like Spotify and Apple Music] regardless. “Our business and artists prefer a small payout to zero,” he said. “We’re trying to build habits. If newer platforms see that existing ones don’t pay these markets, why would they?” he asked.
So, awareness is growing, but the fight is still uphill. When I asked how Warner plans to navigate this low-revenue terrain, Marc’s response balanced between clear-eyed realism and optimism. Export is an important strategy, he admits, but not a one-size-fits-all solution. “We have to create regional champions and systems too,” he explained. “Not every artist is built for export. There’s a local market to feed.” He referenced artists like Fally Ipupa, who mastered the art of balance. Signed to Warner Music France in 2017, Fally Ipupa alternates between projects for his Congolese base and urban French audiences. One album might feature rumba sounds and local collaborations, while the next leans into crossover appeal with guests like Ninho and Aya Nakamura. Over time, this dual strategy allowed him to retain his hold locally while selling out iconic venues in France like Accor Arena and La Défense. “He did it by switching back and forth, giving his core what they love, then experimenting for wider reach,” Marc said. “That’s the blueprint.” But of course, even blueprints need reinforcement. Many digital platforms still don’t have enough nuanced understanding of Francophone markets. “There are way more Anglophone people working at these platforms,” Marc pointed out. “If I sign an artist from Togo right now, will the platforms know what to do with them?” He raised another example around the near-universal citation of Angélique Kidjo whenever Beninese music is being discussed. A legend, no doubt. But to Marc, this reflects a deeper problem of low discovery and a dearth of contextual support for newer artists. “We need to talk about the others,” he said.
These bottlenecks run deep, and in regions like the Democratic Republic of Congo (DRC), the stakes are massive. With a population of over 100 million and Kinshasa being the largest Francophone city in the world (surpassing Paris), the potential reach is undeniable, yet the structural support doesn’t match it. “Most of French culture is now situated in Africa,” Marc told me. “But without the right systems such as financing, laws, and infrastructure, it’s hard to make that culture sustainable.”
The DRC is the most populous Francophone country in the world (~100 million people).
Kinshasa alone has over 13 million residents, and French is the lingua franca used in government, media, education, and daily communication across ethnic groups.
In the case of the DRC, for instance, imagine 60% of that population streaming your music and now imagine the money being lost. Kinshasa, the capital city, having the largest Francophone population in the world, ahead of Paris, means more people speak French in Kinshasa than in Paris. Then there’s also Abidjan being the third-largest Francophone city. So, per cultural concentration, Francophone identity has shifted from Europe to Africa.
There are only few countries in Europe where French is spoken and both Belgium and Switzerland also speak German. So, it holds true that most of the concentrated French cultural presence is now in Africa.
That’s why, in addition to his creative duties, Marc spends a considerable amount of time in policy conversations, speaking with ministries and institutional players. “Hits aren’t made in the office. They’re made in the studio,” he said. “But we can’t push those hits if the market isn’t sustainable. So one of our unofficial missions is to contribute to building the music ecosystem, one country at a time.”
Another overlooked issue is how difficult it is for artists to formalize their careers. A major challenge within the ecosystem is ensuring that copyright rules protect the artists, while also advocating for the business and helping institutions understand what the music industry needs to grow. This includes matters like taxation and making it easier to create record labels. “When an artist starts gaining traction and maybe needs a distribution deal, they have to set up a company; and in certain countries, that takes time.” Working with a major label [like Warner] is serious business. It’s often more of a business-to-business (B2B) relationship. So for an artist to get a distribution deal, they need to have a registered label. “Sometimes I delay signing someone because they’re not ready on paper,” he said. “We’re asking people to run before we’ve taught them how to walk.”
This shows in how he views the market. What works in France won’t necessarily work in Abidjan or Bamako. “You can’t apply the same rules when the tools are different,” Marc said. In France also, every digital platform is monetized. In Africa, most are not. “You have to understand how money is made locally. That’s the only way forward,” he said. “So I listen to a lot of local professionals; producers, media personalities, and artists. They have more understanding of the market.”
Earlier this year, Warner Music organized its first songwriting camp in Abidjan, bringing together artists from across Africa for three days of collaboration, creation, and connection. The event, titled Warner Music Camp Babi, featured more than 20 artists, producers, and songwriters. It marked Warner Music Africa Francophone’s first-ever songwriting camp in Côte d’Ivoire and is described by the company as “the first songwriting camp of its kind” in French-speaking Africa. Talent from Côte d’Ivoire, Ghana, Nigeria, and South Africa worked together to produce new music and foster pan-African creative relationships. Speaking on the camp, Yoann Chapalain, Co-Director, Warner Music Africa Francophone said, “In launching WMAFR, we were keen to use our scale and resources to facilitate collaboration and connect musicians from across the continent, ignoring borders and barriers in order to break the stars of tomorrow. The Babi Camp was the start of something new that we’re enforcing to retain our DNA, building a pan-African community of artists, and ensuring that we’re encouraging their creativity and innovation."
Participating artists included Black K, Ch’cco, Herc Cut The Lights, Hyce, Jeriq, Kold AF, Kouz1, Paulo Chakal, Ste Milano, and Yumbs.
Long before the job title or the regional mandate, Marc had really immersed himself in the rhythms and realities of Francophone Africa’s music scene. “You’ve always had your skin deep in the game,” I said to him, recalling our early conversations in 2019. It’s no surprise to see him now at the helm of Warner’s push across the region he had prepared for, long before it was formalized.
Born and raised in Côte d’Ivoire, Marc left for France for university. “When I graduated in 2014, there were no major labels in Côte d’Ivoire, so I stayed back in France,” he recalled. “Universal and Sony only came in 2016.” Eager to develop his skill set, he took up work with Bomaye Musik, an urban label based in Paris with a roster that includes Youssoupha, Naza, KeBlack etc; before eventually joining Warner Music and climbing the ranks. Still, the pull of home never waned. He saw the emergence of Universal and Sony in Abidjan as a sign that the time was right. “So I said, let’s bring Warner too.”
Today, Abidjan is the only city in Francophone Sub-Saharan Africa where all three major labels (Warner, Universal, and Sony) are present. It’s an important milestone, but for Marc, it’s only the beginning. His vision stretches far beyond Abidjan, aiming to connect the entire Francophone music belt from Senegal to the Congo, and to position it not just alongside but in dialogue with the more globally recognized scenes in Nigeria, Ghana, Tanzania, and South Africa. In Marc’s view, the problem isn’t that these powerhouse markets exist, it’s that they often dominate the conversation to the exclusion of others. His goal is to change that by creating organic exchange. “If my artist can record in Lagos, appear in media there, and build an audience, that’s a big win. And it should go both ways.”
He sees collaboration not as a trend but as a necessary infrastructure. In this way, Marc aligns with the “One Africa” movement, a philosophy rooted in shared opportunity rather than rivalry. “We’re not competing,” he said. “If we can collectively project the continent, that’s a win for everyone.” Africa, he reminded me, is home to over 50 countries. Focusing only on breaking into saturated international markets like France or the UK overlooks the richness and potential of the continent itself. “I tell my artists, don’t just aim for France,” he said. “What about Kenya? What about Uganda? Egypt ? What about the rest of Africa?” For Marc, these markets offer untapped potential. They may lack the sheen of Western industry accolades, but they hold something more important - audiences that are ready and waiting.
This led us back to the topic of export. Would international breakthrough be a core goal or more of a bonus? “If it comes, great,” he said. “But you can’t build on that alone. You’ll end up frustrated.” For him, the first priority is the home crowd. “Your audience chooses you, not the other way around. Feed them well, and they’ll help you grow. If you don’t give them what they want, what’s the purpose of your music?”
In his eyes, true growth comes from nurturing what’s already present. When an artist has a strong local base, the diaspora and international platforms tend to follow. “Your first ambassador is the person next to you,” he said. “Give them the best of what you’ve got.” That kind of grounded thinking also informs how Warner Francophone Africa works with its Anglophone counterpart. It’s not a siloed operation but a joint venture; a shared effort between Warner Music France and Warner Music Africa. “We work together. We’re not separate,” Marc explained. That kind of cohesion is critical for the cross-pollination Marc envisions. Whether it’s Ivorian artists such as Paulo Chakal recording in Nigerian studios or Nigerian rappers collaborating with Congolese producers, the goal is to build bridges that artists themselves may not yet see.
As we drew to a close, Marc reiterated this collaboration is far from just being administrative; it’s central to the artist experience. “When artists come to us, they see a whole vision,” he said. “If someone wants to go to South Africa, I talk to my co-director there. If they want to connect in Lagos, we make that happen with help of the great team there.” For him, this intercontinental teamwork is what gives Warner competitive edge. “We have the catalogue, we have the teams, so let’s make something of it.”