Malawi’s creative industry has, in recent years, found new life online, but the recent hike in data charges has brought in new challenges.
Through digital platforms, creatives have promoted their works without using traditional chanelles.
For years, Malawi was one of the countries in the region with comparatively lower mobile data prices, making it easy for people to stream music, watch videos and interact with artists on digital platforms.
Online concerts, influencer marketing and digital collaborations have become common strategies for expanding audiences.
Mikozi Online lead Bright ‘Excess’ Chiligo said affordable internet has encouraged more Malawians to consume local content, helping artists reach audiences that were previously inaccessible.
“The digital industry is driven by data. It’s a game of numbers. The higher the cost of data, the lower the reach and number of views artists will have on their content,” he said.
But that momentum now faces a new challenge after the country’s dominant mobile network operators, Airtel Malawi plc and TNM plc, raised the prices of internet data bundles by about 40 percent, increasing the cost of accessing online services for millions of subscribers.
The Consumers Association of Malawi (Cama) has since called on the Malawi Communications Regulatory Authority (Macra) to immediately reverse the tariff adjustments, arguing that the increases were implemented in breach of the Communications Act, 2016.
While the adjustment affects all internet users, musicians fear they will bear a disproportionate burden because their livelihoods increasingly depend on people staying connected.
Hip-hop artist Phyzix, born Noel Chikoleka, said musicians have invested heavily in platforms such as YouTube, Spotify, Apple Music, TikTok, Facebook and Instagram to connect with fans.
He said that when internet access becomes more expensive, people naturally become more selective about what they stream or download.
That, he said, could reduce views, streams, engagement and ultimately the revenue artists earn from digital platforms.
“Personally, I have noticed that fans are engaging more with shorter-form content than longer videos, and data costs are likely one of the reasons. Someone may watch a 30-second clip on TikTok or Facebook but thinks twice before streaming a full album or a high-quality music video on YouTube,” he said.
“Every stream on Spotify, Boomplay, Apple Music or YouTube, every download and every social media engagement depends on affordable internet.”
Filmmaker and musician General Gatoma said the impact extends beyond listeners.
He said musicians themselves spend heavily on data to upload videos, respond to fans, promote new releases and market upcoming shows.
“Independent artists who finance their own promotions may now have to allocate more money to internet expenses, reducing resources available for recording, production and marketing,” he said.
Kapito argues that internet access is no longer a luxury but an essential service that supports education, business, innovation and the creative economy, as envisioned in Malawi 2063.
While countries such as Nigeria have built thriving creative industries that contribute significantly to national economic growth, Malawi’s arts sector is yet to realise its full potential.
According to Unesco research published in 2021, Africa’s film and audiovisual industry generates about $5 billion (about K8.7 billion) annually and supports more than five million jobs across the continent.
Film Association of Malawi vice-president Gilbert Moyo said Malawi has the potential to derive substantial economic benefits from the creative sector if the right investments are made.
“Let us create a digital economy for artists in the manner Zimbabwe, Nigeria and South Africa have done. If we are to nurture our arts industry, we need an Arts Commission, just as South Africa has done. We must also establish an arts school to ensure we develop talent in a structured and professional manner,” he said.
