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AUMEX Kampala: In the Room with Kefiloe Molefe & Kgotso Masithela

Nov 12, 2025 | Events

A man in a checked shirt speaks into a microphone at a lectern. The background features a geometric pattern and AUMEX Kampala branding. Bold text reads, “NOT JUST ANOTHER EVENT.” The “AUMEX CONFERENCE” logo is displayed in purple and gold.

Less theory, more steps

On 7 November 2025 at MOTIV Bugolobi during the Amplify Uganda Music Expo (AUMEX), a full room of collaborators from Kampala and beyond asked for answers they could use before the next upload. Kefiloe Molefe (Head of A&R, Downtown Music Publishing Africa) and Kgotso Masithela (Licensing) kept it surgical: the admin that unlocks money and momentum.

Before the song drops, agree the math

A songwriter asked when splits should be final. Answer: before release, in writing. One signed version prevents version-creep when statements land months later—vital in Kampala’s collab-heavy scene, where cross-border credits can multiply disputes.

Two IDs, two worlds

A producer mixed up ISRC and ISWC. We mapped it out: ISRC tags the recording, ISWC tags the composition. Titles and writer credits must mirror across both so PRO/CMO and distributor data reconcile. One alias mismatch = one stalled payout.

Neighbouring rights aren’t magic

A performer asked about overseas streams. Reality check: neighbouring rights primarily arise from broadcasts and public performance; most pure on-demand streams don’t trigger them. The win today: get performer credits right on recordings so legitimate claims travel across societies.

Sync moves at the speed of certainty

An agency-brief story changed the energy. What wins? Low-risk, buyer-ready songs: stems, 15s/30s alts, lyric-clean versions, plus a one-sheet showing usage scope and rights posture. Pre-clear when you can; fast-clear when you can’t. No promises—just fewer reasons to say no.

The sessions — punchy takeaways for creators

  • Split sheets before release. Agree shares early; keep one signed version on file.
  • ISRC vs ISWC. Register recordings (ISRC) and works (ISWC); align titles and writer credits so statements reconcile.
  • Neighbouring rights basics. Performer credits on recordings must be accurate to enable back-claims; on-demand streams typically don’t generate neighbouring rights in most markets.
  • Sync/licensing workflow. Brief → shortlist with timecodes/stems → negotiate terms/usage → deliver cue-sheet info. Pre-clear or fast-clear postures speed decisions (no guarantees).
  • Buyer-ready handoff. Stems, 15s/30s alternates and a one-sheet per cue (mood/fit/rights posture) reduce edit loops.
  • Record-keeping. Keep a simple tracker: submitted/pending/paid claims with dates and contacts.

What Kefiloe and Kgotso emphasised

  • Kefiloe Molefe (Head of A&R). Development is a long game: invest in catalogue hygiene and alternate mixes so your songs are usable across briefs without re-cut delays.
  • Kgotso Masithela (Licensing). Clean metadata is leverage—when your identifiers and credits are right, negotiations and approvals move faster because risk is lower.

Kampala lens: why it matters here

Ugandan releases often braid writers and performers from KE/RW/SS/NG/ZA. Register locally, ensure reciprocal society flows, and keep alt-mixes and cue-sheet fields ready. When a regional campaign calls on Tuesday, you want stems and sign-offs by Wednesday—not a WhatsApp hunt for who owns 12.5%.

Sources

A promotional poster for the AUMEX Conference features Kgotso Masithela, a bald man with a beard smiling at the camera. Text highlights his role as Music Licensing Co-ordinator at Downtown Music Publishing Africa, with event details at the bottom.
A woman with plaited hair, wearing glasses and a light blue shirt, speaks into a microphone whilst presenting at AUMEX Kampala in front of a screen and banner. Seated attendees listen as sunlight streams through large windows, plants nearby.
A man, possibly Kgotso Masithela, stands indoors holding a microphone beside a white roll-up banner with a repeating logo. He wears a brown shirt, checked jacket, and tan trousers at the formal AUMEX Kampala setting. There are tables and another person seated in the background.
A man in a checked shirt, tan trousers, and brown shoes stands on a wooden floor, speaking into a microphone at an AUMEX Kampala event. Behind him are a white presentation board, a table with a tablecloth, and a branded banner at the indoor seminar.
A promotional poster for the AUMEX Kampala Conference features Kefi Loe Molefe, Head of A&R at Downtown Music Publishing Africa. She is smiling, wears glasses, and a dark blazer. Text highlights her career, with meetings and workshops details and African patterns bordering the design.
A person stands holding a microphone and speaking in front of a seated audience. Behind them is an AUMEX Kampala branded backdrop, whiteboard, laptop, and potted plant. The indoor conference or workshop setting is filled with bright natural light.
A woman stands holding a microphone, speaking to an audience at AUMEX Kampala. She wears glasses, a light blue blouse, and jeans. Seated attendees listen intently, with notebooks and water bottles on tables. A laptop and a vertical banner are visible nearby.
A man in a brown shirt and checked jacket stands at a table with a laptop, speaking into a microphone. Behind him is an AUMEX Kampala banner and a whiteboard. Bottles of water and a WiFi code sign are visible on the table in front.
Kgotso Masithela, with long plaits and glasses, sits on an orange chair in a light blue shirt, holding a microphone and speaking in front of a bright projection screen at AUMEX Kampala. Two blurred audience members and water bottles appear in the foreground.
A projection screen displays a slide with the text
A woman with long plaits speaks into a microphone at an indoor AUMEX Kampala event, standing before a projector screen. Audience members sit in the foreground, partially visible, with water bottles and papers on the table.
A woman in jeans and a light blue shirt stands holding a microphone, speaking to an audience at AUMEX Kampala. Some listen attentively whilst others sit with laptops and drinks. A banner featuring Kgotso Masithela and a projector are also visible.

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