In-flight entertainment (IFE) presents a valuable opportunity for content creators to reach a global audience being millions of passengers flying at 30,000 feet, all looking for distraction. For a Ugandan filmmaker crafting a drama about Kampala’s bustling streets, a musician blending Luganda lyrics with Afrobeat, or a game developer programming a mobile adventure inspired by Lake Victoria, IFE offers a unique platform. However, how can a creator from Uganda break into this high-flying market? With airlines like Ethiopian Airlines, Emirates, and Uganda Airlines connecting Africa and beyond, the path is challenging but achievable. Here’s a step-by-step guide, informed by industry leaders like Safran Passenger Innovations (SPI) and Anuvu, tailored to a Ugandan perspective.

Step 1: Craft IFE-Ready Content Airlines prioritize content that captivates a diverse audience while adhering to strict guidelines. Begin by ensuring your product aligns with IFE standards:

• Know Your Audience: IFE serves everyone from business travelers to families. A Ugandan short film, like the hypothetical “Kampala Hustle,” could resonate with East African passengers on Ethiopian Airlines, while a universal story about resilience might appeal to Emirates’ global travelers. Music or games with local flair such as a Ugandan trivia app can also stand out.
• Keep It Short and Sweet: Short-haul flights (e.g., Entebbe to Nairobi) typically favor content that lasts 20-60 minutes, while long-haul routes (e.g., Entebbe to London) are suited for feature-length films or albums. A 30-minute documentary on Uganda’s coffee trade would fit perfectly.
• Polish Production: Invest in quality and aim for 1080p video, clear audio, and subtitles in English (which is mandatory) or in other languages like Swahili, Arabic, or French (a bonus for airlines like Qatar Airways). If budgets are tight, free tools like DaVinci Resolve or Audacity can be helpful.
• Censor Smartly: Airlines avoid content with violence, explicit material, or plane-crash scenes. Edit your work to ensure it is family-friendly and culturally sensitive. This is especially crucial for carriers serving conservative regions.

Make sure to secure your intellectual property rights through Uganda’s Registration Services Bureau (URSB) to ensure you can license your work legally. If your project incorporates third-party music or footage, make sure to clear those rights as well for airlines typically won’t touch content with legal risks.

Step 2: Target the Right Players Uganda’s content creators won’t pitch directly to Boeing or Airbus. IFE agreements typically occur through airlines, content service providers (CSPs), or distributors. Here’s where to focus your efforts:

• Local Airlines: Uganda Airlines, revived in 2019, operates Airbus A330s and CRJ900s equipped with IFE systems. Its focus on East African routes makes it a natural fit for Ugandan content. Reach out to their marketing or passenger experience team via their website (ugandairlines.com) or LinkedIn.
• Regional Giants: Ethiopian Airlines, a Star Alliance member with over 150 aircraft, partners with Anuvu for IFE and emphasizes African content (including Nollywood and Ethiopian films). Pitching to them could spotlight Ugandan stories across their extensive network.
• Global CSPs: Companies such as Anuvu and Safran Passenger Innovations dominate IFE delivery. Anuvu, which works with clients like Air Canada and TUI Airways, curates over 600 films for Ethiopian Airlines, including regional selections. Safran’s RAVE system, used by Lufthansa and ANA, supports diverse content on its seatback screens. Both accept submissions—Anuvu via distribution.anuvu.com, and Safran through its office in Brea, California.
• African Distributors: Firms like Kenya’s Multichoice or Nigeria’s Afrinolly may bundle Ugandan content into IFE packages. Network at events like FESPACO, Burkina Faso’s film festival, to make connections.

Step 3: Pitch Like a Pro With airlines and CSPs receiving hundreds of pitches, yours must stand out:

• Create a Pitch Package: Include a one-page synopsis (e.g., “A Ugandan musician’s journey from Gulu to global stardom”), runtime, target audience (e.g., East African travelers), and a trailer or demo. Highlight the cultural value, Uganda’s vibrant arts scene is a notable selling point.
• Offer Affordable Terms: While blockbusters can cost over $90,000 per license, indie content may start at $5,000-$20,000 for 2-3 months. Propose a trial run on Uganda Airlines’ Entebbe-Dubai route to demonstrate demand.
• Email Strategically: For Anuvu, use their media inquiries email or reach out to LinkedIn contacts in their content team. For Safran, connect with SPI’s acquisition representatives. Highlight how your work aligns with their technology e.g., RAVE’s Bluetooth audio compatibility suits Ugandan music playlists.
• Leverage Uganda’s Film Scene: Cite successes like “Queen of Katwe” (Disney, 2016) or the Uganda Film Festival to illustrate market potential. If you have won local awards, be sure to showcase them.

Step 4: Deliver and Negotiate If interest arises, be ready to finalize the deal:

• Provide Files: Deliver DRM-ready files (e.g., MP4 format with encryption) via secure platforms like WeTransfer. Anuvu’s Open™ platform or Safran’s RAVE OS can provide guidance on format specifications and please don’t hesitate to ask for their technical sheets.
• Negotiate Terms: Expect a 2-6 month license covering specific routes (e.g., Entebbe to Addis Ababa). Retain rights for streaming platforms like iROKOtv to maximize revenue. Consider consulting a lawyer from Kampala’s legal community to help with contract details.

Step 5: Amplify and Grow

1. Promote Locally: Announce your partnership on platforms like X or Uganda’s NTV with a message like “Now on Ethiopian Airlines!” to generate excitement. Be sure to tag
   @anuvu_official or @Ug_Airlines to increase visibility.
2. Track Success: Request viewership statistics from the airline or content service provider (CSP) to help pitch for renewals or new projects.
3. Scale Up: Use this initial success to approach larger carriers like Emirates or pitch at global events such as APEX Expo (USA) or DISCOP (Africa’s content market).

With Safran’s technological innovation and Anuvu’s content reach, Uganda’s creative voices can gain global recognition, one flight at a time.

In Uganda, where music flows through the streets of Kampala, the hills of Kabale, and the shores of Lake Victoria, being a musician is both a calling and a hustle. From the soulful strums of Kadongo Kamu to the infectious beats of Afrobeat and Lugaflow, artists pour their hearts into their craft. However, the paycheck doesn’t always reflect the passion. With streaming platforms offering minuscule royalties, live gigs disrupted by everything from weather to politics, and piracy cutting into profits, Ugandan musicians need more than just talent to thrive, they need side hustles. Fortunately, their skills in performance, creativity, and connection can open doors to lucrative ventures. Here’s a list of 10 side hustles tailored specifically for Ugandan musicians, combining practicality with a touch of flair.

The Ugandan Music Hustle: Why Diversify?
Uganda’s music scene is vibrant and diverse, yet financial stability can seem elusive. A hit song might go viral on TikTok, but the royalties barely cover a boda boda (motorcycle taxi) ride. Gigs at popular venues such as Kyadondo Rugby Grounds or local bars can be goldmines, but the income can fluctuate due to unpredictable turnout or last-minute cancellations. With the costs of studio time and the impact of piracy, it becomes clear that relying solely on music is a gamble. Side hustles are not just a backup plan; they are a strategic move that allows musicians to transform their talents into steady income while keeping their artistic passions alive.

10 Side Hustles for Ugandan Musicians

1. Music Lessons with a Ugandan Beat
   Teach vocals, instruments like the endongo or guitar, or even beat-making, either in your community or online. Uganda’s rich musical tradition and growing youth interest make this an excellent option. Offer one-on-one sessions (UGX 50,000–150,000/hour) or group workshops at schools or cultural centers. Use WhatsApp or Zoom for virtual lessons.
2. Merch That Screams Uganda!
   Sell branded gear—think kitenge (traditional Ugandan fabric) hoodies, beaded chains, or mugs featuring your lyrics. Collaborate with local tailors or artisans for affordable production. Market your products at gigs, on Instagram, or through platforms like Jumia. Consider creating items like “Kla Vibe” T-shirts or necklaces inspired by your latest track.
3. Mixing and Mastering Magic
   Polish tracks for other artists. Mixing balances sounds, while mastering ensures tracks shine. With Uganda’s DIY music boom, many independent artists need affordable, skilled engineers. Learn from free resources on YouTube or take low-cost courses on Udemy. Charge between UGX 50,000 and 500,000 per job.
4. Gigging at Private Parties
   Perform at weddings, birthdays, or corporate events for a steady income. Record a promotional video of your live set and pitch it to event planners or hotels like Speke Resort. Charge between UGX 500,000 and 2,000,000 per gig.
5. TikTok and YouTube Hustle
   Create short music videos, tutorials, or vlogs to earn ad revenue, tips, or sponsorships. With over 30 million mobile internet users in Uganda as of 2024, these platforms offer a lucrative opportunity to reach fans. Monetize through YouTube ads or by receiving tips via mobile money (e.g., MTN MoMo).
6. Licensing Your Tracks
   Sell your music for use in advertisements, TV shows, or Ugandan films. The rise of local content, such as shows on Pearl Magic Prime, creates a demand for fresh soundtracks. Upload your tracks to platforms like AudioJungle or pitch directly to filmmakers in Kampala’s growing movie scene.
7. Voice-Overs for Cash
   Lend your voice to radio jingles, TV ads, or animations. Uganda’s flourishing media market seeks dynamic voices, and your stage-ready voice is an asset. Record a demo in English, Luganda, or other local languages and reach out to radio stations or ad agencies.
8. Hosting Music Camps or Jams
   Lead workshops or retreats focused on teaching songwriting, vocals, or production. Uganda’s tourism hotspots and rich musical heritage make this an attractive offering. Partner with venues in Entebbe or Fort Portal, charging UGX 50,000–200,000 per person for a day event.
9. Brand Collaborations and Jingles
   Partner with companies to perform, endorse, or create catchy jingles. Ugandan brands, such as Bell Lager or Movit, appreciate authentic voices that connect with consumers. Even a modest following can lead to deals worth UGX 1,000,000 or more.
10. Podcasting the Ugandan Sound
    Start a podcast focused on music, culture, or your personal journey, monetizing through ads or fan support. With Uganda’s growing podcast audience eager for local stories, this is an opportunity to connect with listeners. Record episodes using a phone and free software like Audacity, then distribute via Anchor and promote on WhatsApp.

Making It Work in Uganda
These hustles thrive in Uganda’s unique mix of urban energy and rural roots. In cities like Kampala and Mbale, digital tools such as WhatsApp for bookings and TikTok for promotion can amplify your reach. In smaller towns, word-of-mouth and community connections (think church events or market days) can be goldmines. Mobile money simplifies transactions, whether it’s UGX 50,000 from a fan in Soroti or a substantial payment from a Kampala-based brand. Challenges like unreliable power or internet access can be managed with solar chargers and data bundles. Resilience is undeniably the Ugandan way.

Your Next Move
Ugandan musicians, your talent is a powerful asset, don’t let it go unused. Whether you’re mixing a track in a rented studio, selling kitenge tees at your next gig, or teaching a child in Busoga to sing like Sheebah, the possibilities are endless.

The U.S. Copyright Office has issued a Notice of Inquiry regarding the role of Performing Rights Organizations (PROs) in licensing and distributing royalties for musical works. This inquiry, prompted by concerns from Congress, aims to gather information about the growing number of PROs, the challenges in royalty distribution, and the overall impact on artists, businesses, and licensees. For musicians, songwriters, and publishers, understanding this inquiry is crucial, as it may shape future policies affecting how royalties are collected and distributed.

Background: What Are PROs and Why Are They Important?

PROs, or Performing Rights Organizations, manage public performance rights for songwriters, composers, and music publishers. These organizations collect royalties from businesses (such as radio stations, streaming services, bars, and restaurants) that publicly perform copyrighted music. They then distribute these royalties to rights holders.

Historically, the U.S. has had three major PROs:

• ASCAP (established in 1914)
• BMI (established in 1939)
• SESAC (established in 1931, private and for-profit)

In recent years, additional PROs have emerged:

• Global Music Rights (GMR) – 2013
• PRO Music Rights – 2018
• AllTrack – 2019

While these newer PROs have increased competition, they have also raised concerns about licensing complexities and fair royalty distribution.

Why Is the Copyright Office Investigating PROs?

1. Increase in PROs and Its Impact on Licensing
The growing number of PROs means that businesses using music must ensure they obtain proper licenses from multiple organizations. Some businesses, including small venues, bars, and restaurants, report receiving multiple royalty demands from different PROs, which can lead to higher costs and legal threats if they do not comply. The Copyright Office is looking to understand:

• Whether the rise of PROs has increased financial and administrative burdens for businesses.
• Factors contributing to the growth of new PROs.
• Ways to improve clarity and certainty for music users seeking to obtain licenses.

For artists and songwriters, this situation makes choosing a PRO more complex. It is essential to research which PRO offers the best deal for their music and to consider whether multiple PROs controlling different portions of a song could create licensing issues.

2. Concerns About Royalty Distribution
Congress has expressed concerns regarding the transparency and fairness of royalty distributions. The inquiry aims to determine whether independent and lesser-known artists are receiving fair compensation compared to major artists and publishers. The Copyright Office is investigating:

• How PROs track performances of songs.
• Whether certain tracking methods favor mainstream artists over independent creators.
• The accuracy and reliability of publicly available PRO data on song ownership and performance.

Artists should pay close attention to this issue, as flawed tracking systems could lead to underpayment or misallocated royalties.

Key Issues for Artists to Watch

1. Choosing the Right PRO
With multiple PROs in competition, songwriters and publishers need to carefully evaluate their options before affiliating with a PRO. Each organization offers different:

• Royalty rates
• Licensing terms
• Data transparency policies

2. Ensuring Proper Royalty Tracking
Many PROs use proxy data or sample-based tracking to estimate music usage rather than relying on actual reports from venues and digital platforms. This could mean that lesser-known artists do not receive full credit for the performance of their music.

3. Potential Changes in Legislation
If the government determines that current PRO practices are unfair or inefficient, new laws or regulations may be introduced. This could lead to changes in how royalties are collected, distributed, and reported.

Impact on Ugandan Artists Registered with BMI and ASCAP

For Ugandan artists affiliated with U.S.-based PROs like BMI and ASCAP, this inquiry could have several implications:

• International Royalty Collection: Since these PROs primarily operate within the U.S., Ugandan artists must rely on reciprocal agreements with local African PROs (such as UPRS in Uganda) to collect royalties from performances outside the U.S.
• Delayed or Inaccurate Payments: If tracking methods are flawed, international artists may face difficulties in receiving proper compensation for performances in both the U.S. and other regions.
• Increased Competition in the PRO Market: The rise of alternative PROs could create opportunities for Ugandan artists to affiliate with organizations that offer better tracking and payout structures. However, this also introduces complexity in ensuring proper registration.
• Potential Policy Changes: If new regulations emerge, Ugandan artists working with BMI or ASCAP may need to adapt to updated rules that could affect how they receive and report their earnings.

What Happens Next?

The Copyright Office has invited public comments on these issues, with deadlines for written submissions as follows:

• April 11, 2025 (initial comments)
• May 27, 2025 (reply comments)

Musicians, songwriters, and publishers are encouraged to participate in this inquiry to voice their concerns and experiences regarding the evolving landscape of PROs and royalty distribution.