Malawi’s music industry is in turmoil after the Producers and Audio Engineering Association of Malawi proposed a contentious fee hike, setting standard studio sessions at K1 million, igniting debate over affordability, legality and the future of emerging talent.
While producers argue the hike reflects rising costs and years of undervaluation, artists, executives and regulators warn it could stifle creativity, push musicians across the border and expose the sector to legal risk.
The controversy erupted after producers, under the Producers and Audio Engineering Association of Malawi, announced plans to increase studio rates. In a statement signed by president Percy Manyozo, popularly known as Propee, the group said the adjustment responds to an increase in the cost of living estimated at 26 percent.
“This adjustment allows us to sustain investments in advanced technology, facility improvements and premium services,” the statement reads.
Propee said consultations are ongoing, expressing confidence that many artists could afford the new fee. He cited improved earnings from streaming platforms like Spotify and stronger royalty collections from the Copyright Society of Malawi (Cosoma).
“Producers are paid a once-off fee, yet the work does not reflect the current cost of equipment,” he said. “In the past, we could replace studio monitors after a few sessions. That is no longer possible. Today, even low-tier equipment can cost about K4 million.”
However, regional comparisons raise questions. In Zambia, studio fees range between K17 000 and K30 000 per hour, or roughly 2 000 Zambian Kwacha per full track. In Tanzania, producers charge about $30 per hour, while in South Africa, rates range from R2 000 to R8 000 per song depending on the studio. On global platforms like SoundBetter, rates can be as low as R7 000 for a four-song mixtape.
These figures suggest that even in wealthier markets, higher fees tend to apply only to premium studios rather than as industry-wide standards.
This has triggered a deeper question: Is it legal to set uniform industry prices?
Competition and Fair Trading Commission (CFTC) spokesperson Innocent Helema said Section 27(1)(b) of the Competition and Fair Trading Act prohibits trade associations from recommending prices.
“Competition policy is premised on prices being dictated by market forces,” he said. “Agreeing to charge the same price is a serious offence as it stifles innovation and competition.”
He warned the move could harm the arts sector by pricing out emerging musicians and driving artists to record in countries like Zambia, Tanzania or South Africa.
If found in violation, the association and individual studios could face penalties of up to 10 percent of annual turnover and be ordered to abandon uniform pricing.
Renowned producer BFB defended the proposed increase, arguing that producers have long been undervalued even as artists earn millions from performances.
“Artists are charging over K8 million per show, while producers are paid once-off fees that cannot replace even a single piece of equipment,” he said. “We cannot keep making songs for K250 000 and expect high-quality work.”
Drawing on his experience in South Africa, he said he once charged R7 000 per song as an immigrant, while locals charged up to R20 000. Still, he conceded hat not all producers could justify a K1 million fee.
“Prices have to change, whether we reach K1 million or not,” he said.
Music executive Kelvin Sulugwe of Akometsi, who has managed artists including Emmie Deebo, Pop Young and Sife, said the proposal does not make commercial sense.
“Producers are like builders,” he said. “A builder cannot demand a share of your rent after constructing your house.”
He dismissed universal pricing as impractical, noting that even artists charge differently.
“What Gwamba charges and what Sife charges are completely different. Producers who feel they can charge that much should do so, but their market is very small,” he said.
Artist Piksy struck a more balanced tone, acknowledging rising production costs while warning of unintended consequences.
“Studio equipment, software, electricity and skills all cost money, and good producers deserve fair pay,” he said. “But most Malawian artists are still developing. Streaming revenue is low, show payments are inconsistent, and many musicians fund their own projects.”
He cautioned that a K1 million fee could limit access to studios and slow industry growth.
“We may miss new talent simply because they cannot afford studio time,” Piksy said, advocating for flexible pricing, package deals and partnerships. “When artists win, producers win too.”
Music commentator Yangairo Yangairo echoed similar concerns, noting that while a few artists could afford the fee, they are too few to sustain such a model.
“It is extremely difficult to standardise pricing of a creative product,” he said. “Price collusion is illegal in most industries.”
Investigations also reveal that the Producers and Audio Engineering Association is not yet registered with the Registrar of Companies, though sources say it is holding meetings to formalise its structure.
As the debate intensifies, Malawi’s music industry finds itself at a crossroads— balancing the need to professionalise production with the equally urgent need to keep creative opportunities accessible.
