Audiomack, the Africa-focused streaming platform, has claimed the top music app ranking in 17 countries across the continent, per the company announcement.
The platform, which announced the milestone through a company press release shared with Afrikona, attributes its chart-topping position to listeners from Dakar to Dar es Salaam increasingly streaming homegrown talent on its service.
In its analysis, the digital service provider points to its recent growth as evidence of increasing local-market artist representation across African streaming charts, particularly in markets where international catalogs have historically dominated.
Data from Audiomack’s Top 100 Charts reportedly shows higher placement of domestic artists across multiple African markets like Tanzania, Rwanda, Senegal, Mali, and Liberia.
“These charts are more than numbers, they’re a reflection of identity, culture, and pride,” says Charlotte Bwana, Vice President of Marketing at Audiomack. She explains the platform’s mission is to provide equitable distribution.
“All creators in Africa now have access to a platform that allows them to distribute their own music,” Bwana states, emphasizing that the charts prove local scenes are “alive with creativity and shaping the rhythms that define Africa’s soundscape.”
Our Top 100 Charts Reflect How Different Countries Are Listening To Their Own Music, Demonstrating That All Creators In Africa Now Have Access To A Platform That Allows Them To Distribute Their Own Music, These Charts Are More Than Numbers, They’re A Reflection Of Identity, Culture, And Pride.
Charlotte Bwana, VP Marketing at Audiomack
This growth is presented as particularly significant in markets that have historically received limited local editorial focus from larger global DSPs.
Audiomack has invested in a human-curated, locally tailored discovery interface, including editorial playlists designed to spotlight rising talent and social media series like Scenes, which documents nascent genre movements such as the Kompa wave in Tanzania and the Drill scene in Eastern Nigeria.
Its Artist Watch series has also become a key talent identification tool. Hip-hop has been a particular area of emphasis, with genre-specific playlists mapping domestic rap ecosystems in burgeoning scenes from Rwanda to Cameroon.
The strategy is delivering measurable results on the ground, with a distinct impact in different regions:
In Senegal and Mali, the company draws a direct connection between its localized hip-hop playlists and on-ground curation teams, and the international growth of the Galsen and Malian rap scenes, respectively.
In Rwanda and Cameroon, genre-specific playlists are emphasized as key tools for mapping and amplifying burgeoning domestic rap ecosystems.
In Liberia and Tanzania, artists and producers, per the company’s accounts, highlight the platform’s organic trending mechanisms as vital for breaking new talent. In Tanzania, this is complemented by social media series like Scenes, which documents local genre movements such as the Kompa wave.
In Rwandachart data is reported to show local artists increasingly ranking alongside regional acts, a shift tied by the company to its discovery algorithms and locally managed editorial playlists.
In markets like South Sudan, the platform is characterized in the release as a leading streaming service primarily due to its free, data-light model, which provides a low-barrier distribution channel for a new generation of artists in a market with limited infrastructure.
This continent-wide artist growth fuels Audiomack’s core metrics. The service now reports over 45 million monthly active users globally and hosts more than 1 million active creators, leveraging a model that combines unlimited free uploads with tools for audience engagement like Connect and Boost.
