Veteran Nigerian producer Sarz, born Osabuohien Osaretin, recently pulled back the curtain on a side of the music business many fans rarely think about: the numbers behind the streams.
Speaking on the Afropolitan podcast, Sarz got candid about streaming payouts, promotion costs, and what it really means to work behind the scenes in today’s industry.
He broke it down with a simple comparison:
“A million streams from the United States is maybe $3000-$5000..That same 1 million streams from Nigeria is arguably maybe $300-$500, but it will cost you the same amount to market or promote a song in Nigeria as much as it would cost you abroad,” he remarked.
In other words, the effort to push a song can be just as expensive locally, but the financial return? Nowhere near the same.
Sarz explained that the gap largely comes down to economics. Listeners in Western countries typically pay higher subscription fees because their economies are stronger.
Back home in Nigeria, the love for music is undeniable, but disposable income is a different story. Many fans simply can’t afford premium streaming subscriptions, which makes streams from Nigeria less valuable in monetary terms.
Then he shared something even more striking:
“It’s funny if I say this, but in Nigeria, I haven’t received any residual income from my music from Nigeria. So as someone behind the music, as a producer, we’re only as good as the advance we get from the artists paying you for a beat.”
For years, especially before Afrobeats gained global dominance, producers often depended heavily on upfront payments. Any extra compensation after that was largely at the artist’s discretion.
“For a long time, until Afrobeats became global, lots of times you’re literally at the mercy of the artists, mainly the artists too. If they feel like you’re important enough to be compensated more after they’ve paid you, that mercy is what helps you earn a living.”
Rather than dwell on frustration, Sarz said he chose to adapt.
“I don’t think my destiny is tied on anyone. I can’t blame myself for being here in Nigeria, and I can’t blame myself for being in the situation. I have to figure it out, so you just have to find ways to make things work.”
That mindset pushed him to expand beyond just producing beats.
“So this is why I started making my own music, DJing, trying different things, then collaborative albums, dabble into signing artists. You just can’t be someone behind the music and just do that here. I think you have to do more to make things work.”
Looking ahead, Sarz believes broader economic change is key.
“We [Nigerian entertainers and executives] are waiting for the state of the country to get better so other things can start improving.
“I think we have done very well with the resources that we have and with all the obstacles against us.
“I mean, people are streaming music, the people that can’t stream, can’t afford it. But people listen to music across the country and if they can’t afford streaming, it just means that they don’t have the money to.
“And how do we empower them? Back to the government. So, we are just waiting till the economy gets better.”
Through it all, his message is clear: the talent is there, the audience is there, and the passion is there. What’s missing is an economic system that allows everyone, creators and consumers alike, to fully benefit from it.
View this post on Instagram