For an upcoming musician, releasing one song can feel like a major achievement.
You have written the song, recorded it, paid for production, created the artwork, distributed it and perhaps made it available as a Skiza Tune. You then begin promoting it and hoping listeners will discover it.
But what happens next?
Do you continue depending on that one song, or do you start building a larger music catalogue?
For musicians who want to create sustainable income from their work, building a catalogue can be one of the most important long-term strategies.
A catalogue gives an artist more songs for listeners to discover, more material to promote and more opportunities for individual recordings to generate royalties through applicable platforms and licensing arrangements.
Skiza is one part of this ecosystem. Safaricom describes Skiza as a personalised ringback tone service and states that its catalogue includes tune codes, artist names and tune names. Artists can also track their income through *622#.
However, building a catalogue should not be viewed as simply producing as many songs as possible.
The objective is to build a valuable, properly documented and strategically distributed body of music.
What Is a Music Catalogue?
A music catalogue is essentially the collection of music associated with an artist, songwriter, producer or rights holder.
For an independent musician, this could include:
Singles
EPs
Albums
Worship songs
Live recordings
Collaborations
Instrumental works
Alternative versions
Acoustic versions
Remixes, where properly authorised
Older songs that continue to attract listeners
Every song can potentially become a long-term intellectual property asset.
The more quality music an artist owns or legitimately controls, the more opportunities there may be to generate income from that body of work.
Why Is a Larger Catalogue Important?
Imagine two musicians.
Musician A has released one song.
Musician B has released 20 songs over several years.
If a listener discovers Musician A, there is only one song available to explore.
But if a listener discovers Musician B, there are potentially 20 different opportunities to turn that listener into a fan.
The listener might discover one song through Skiza.
Another might discover the artist through YouTube.
Someone else might hear a different song at church.
Another person might find an older release through social media.
A catalogue therefore increases the number of entry points into an artist's music.
It also gives fans more reasons to stay connected.
More Songs Do Not Automatically Mean More Royalties
This distinction is essential.
An artist should not assume:
10 songs = 10 times the income.
That is not how music monetisation necessarily works.
Some songs may generate very little.
One song could become much more popular than the other nine.
Another may attract listeners for years.
Another may perform well temporarily.
Another may never gain significant traction.
The value of a catalogue comes from creating multiple opportunities, not from guaranteeing a specific level of income.
The goal is to increase the number of assets capable of generating legitimate revenue.
Think of Every Song as a Long-Term Asset
Instead of treating a song as something that is released once and forgotten, think of it as an asset that can potentially continue working for you.
A song can have a life cycle:
Creation → Recording → Distribution → Promotion → Discovery → Usage → Royalties → Continued Promotion
And the cycle can continue for years.
A song released today may still be discovered by a listener months or years later.
That is particularly relevant to worship and gospel music.
A song about faith, prayer, hope, God's faithfulness or overcoming difficult circumstances may remain relevant long after its release.
Start With a Realistic Release Schedule
One of the best ways to build a catalogue is to establish a release schedule that you can actually afford and maintain.
Do not feel pressured to release a new song every week simply because other musicians appear to be doing so.
Instead, consider a sustainable schedule such as:
One single every month
One single every six weeks
One single every two months
Several singles followed by an EP
Several singles followed by an album
The right schedule depends on your finances, creative capacity, audience and production resources.
Consistency is more important than rushing.
Quality Should Come Before Quantity
A catalogue of 50 poorly produced songs may not be as valuable as a catalogue of 10 excellent recordings.
Every song represents your brand.
Listeners who discover one poor-quality recording may never explore the rest of your catalogue.
Therefore, before releasing another song, consider:
Is the songwriting strong?
Are the vocals properly recorded?
Is the production professional?
Has the song been properly mixed and mastered?
Does it connect emotionally with the intended audience?
Does it represent the artist I want to become?
Catalogue building should never become an excuse for lowering standards.
Build Around Your Musical Identity
A catalogue becomes more powerful when listeners can understand what an artist represents.
For example, a worship musician might build a catalogue around themes such as:
Prayer
Faith
Hope
God's faithfulness
Praise
Spiritual encouragement
Restoration
Gratitude
Victory
Trust in God
This does not mean every song must sound identical.
It means there is a recognisable identity connecting the catalogue.
When someone discovers one song, they should have a reason to explore another.
Create Different Types of Songs
A strong catalogue can contain different categories of songs.
For a worship musician, for example, you might have:
Songs for Prayer
Music designed for quiet reflection and personal prayer.
Songs for Praise
Upbeat songs that can work in celebratory worship settings.
Songs for Encouragement
Music addressing difficult seasons and reminding listeners about hope.
Songs for Congregational Worship
Songs that can be sung collectively.
Personal Worship Songs
More intimate recordings intended for individual listening.
This approach gives the catalogue breadth while maintaining a coherent identity.
Build Singles Before Thinking About an Album
Upcoming musicians do not necessarily need to wait until they have 10 or 15 songs before releasing music.
Singles can be strategically useful.
For example:
January: Single 1
March: Single 2
May: Single 3
July: Single 4
September: Single 5
November: EP containing selected songs plus new material
By the end of the year, the musician has created a meaningful body of work.
Each release also creates another opportunity for audience growth.
Repurpose Existing Music Without Creating Artificial Volume
Building a catalogue does not always mean recording completely new songs.
Where rights permit, musicians can create alternative versions of existing works.
Examples include:
Acoustic versions
Live versions
Instrumental versions
Piano versions
Extended versions
Alternate performances
However, these should be used strategically rather than simply duplicating content to inflate the catalogue.
The underlying rights and distribution terms should always be clear.
Collaborations Can Expand Your Catalogue
Collaborations can introduce your music to audiences you may not otherwise reach.
You might collaborate with:
Another singer
Worship leader
Choir
Producer
Instrumentalist
Songwriter
Gospel artist
But collaborations also introduce additional rights considerations.
Before distributing a collaborative recording, agree in writing on:
Ownership
Revenue sharing
Credits
Distribution rights
Promotion responsibilities
Use of the recording
Future licensing
Do not wait until a song becomes successful before discussing ownership.
Document Every Song From the Beginning
A growing catalogue creates an administrative challenge.
When you have three songs, you may remember everything.
When you have 30 songs, things become more complicated.
When you have 100 songs, relying on memory becomes risky.
Create a catalogue spreadsheet or database.
Record:
| Information | Example |
|---|---|
| Song title | My New Song |
| Artist | Artist Name |
| Release date | Date |
| Composer | Name |
| Lyricist | Name |
| Producer | Name |
| Master owner | Name/company |
| Distributor | Provider |
| Skiza code | Code |
| YouTube link | Link |
| Other platforms | Platforms |
| Contract | File/location |
| Royalty information | Details |
This can become your central music-rights record.
Keep Your Contracts
Never allow your catalogue to exist only on a distributor's system.
Maintain copies of important agreements.
These may include:
Producer agreements
Distribution agreements
Beat licences
Collaboration agreements
Recording agreements
Publishing agreements
Copyright records
Licensing agreements
Payment statements
Kenya's copyright administration system provides services for copyright registration and also includes artist royalty-related services.
The exact registration and rights-management requirements can vary depending on the circumstances, but maintaining documentation is an essential part of professional catalogue management.
Make Sure Your Metadata Is Consistent
As your catalogue grows, metadata becomes increasingly important.
Your:
Artist name
Song title
Composer information
Producer information
Copyright information
Release dates
Contributor credits
should be accurate.
Safaricom's published Skiza terms indicate that the service catalogue contains information such as song codes, artist names and tune names.
Incorrect information can make your catalogue harder to manage and potentially harder for listeners to identify.
Protect Your Master Recordings
Your master recording is a valuable asset.
Keep the original high-quality files.
Do not rely exclusively on the copy uploaded by your distributor.
Maintain backups in secure locations.
For example:
Primary storage
Your computer or external drive.
Backup 1
Cloud storage.
Backup 2
Separate physical storage.
If your catalogue becomes commercially valuable, losing original recordings can become a serious financial problem.
Don't Release Everything at Once
There can be strategic value in spacing releases.
Suppose you have 12 finished songs.
Instead of releasing all 12 simultaneously, you could release them gradually.
For example:
Quarter 1: 3 songs
Quarter 2: 3 songs
Quarter 3: 3 songs
Quarter 4: 3 songs
This gives you multiple promotional moments throughout the year.
Each release can generate:
Social-media content
YouTube content
Skiza promotion
Interviews
Performances
Listener engagement
New audience discovery
One catalogue can therefore provide content for an entire year.
Turn Every Release Into a Campaign
Do not simply upload a song.
Build an event around it.
Before release:
Announce the song
Share a teaser
Explain the inspiration
Show behind-the-scenes footage
At release:
Publish the song
Publish the video
Promote the Skiza availability
Share subscription instructions
After release:
Share listener reactions
Publish clips
Perform the song
Discuss the message
Encourage sharing
This gives the song a longer marketing life.
Connect Every New Song to Your Existing Catalogue
When someone discovers your newest song, give them another song to listen to.
For example:
"If you enjoyed this worship song, listen to my previous release."
This creates a chain of discovery.
A listener who originally came for one song may eventually listen to five.
That is how a catalogue becomes more valuable than a collection of isolated releases.
Create Playlists Around Themes
Your catalogue can be organised into thematic playlists.
For example:
Tabitha Gachanja Worship Songs
Songs for Prayer
Songs of Hope
Praise and Worship
Morning Worship
Songs for Difficult Seasons
The same catalogue can therefore be presented in different ways to different audiences.
This can help listeners discover older songs that they may have missed.
Promote Older Songs Again
A song does not have an expiry date simply because you released another song.
If an older song is still relevant, bring it back.
You can create a new promotional campaign around it.
For example:
"Three years ago I released this worship song. Its message still speaks to me today."
That can introduce an old song to a completely new audience.
This is particularly important for musicians who want their catalogue to create long-term opportunities.
Watch Which Songs Perform Best
Your audience will tell you which songs resonate.
Pay attention to:
YouTube views
Watch time
Comments
Shares
Repeat requests
Social-media engagement
Live audience reactions
Skiza activity
Royalty statements
Safaricom has stated that artists on the Skiza platform can track their income through *622#.
Your content provider may also provide additional reporting under your agreement.
Use that information to make better decisions.
If one song consistently outperforms the others, ask yourself why.
Was the chorus stronger?
Was the message more relatable?
Did the promotion reach the right audience?
Was the video better?
Did people hear it through another channel?
Those insights can influence future releases.
Don't Chase Trends at the Expense of Your Catalogue
Trends can bring attention, but an artist needs an identity beyond trends.
A worship musician, for example, may see a particular sound become popular online.
That does not necessarily mean every song should imitate it.
Ask whether the trend fits your audience and your artistic identity.
A catalogue should have longevity.
Today's trend may disappear next month.
A powerful song with a timeless message may remain relevant for years.
Build a Catalogue With Different Commercial Opportunities
A song can potentially generate value through more than one route.
Depending on the rights and agreements involved, music may be monetised through:
Skiza
Streaming
YouTube
Digital downloads
Public performance
Licensing
Synchronisation
Live performances
Partnerships
Physical products
Other authorised uses
This is why rights ownership matters.
A musician who properly documents their music can have greater clarity about what they can license, distribute and monetise.
Don't Give Away Your Entire Catalogue Without Understanding the Consequences
An upcoming musician may be approached with offers such as:
"We will promote you if you give us your songs."
Be careful.
Promotion can be valuable, but you should understand exactly what rights you are giving away in exchange.
Before signing, determine:
What rights are being transferred?
For how long?
In which territories?
Is the arrangement exclusive?
How are royalties divided?
Who owns the masters?
Who controls licensing?
Can you terminate the agreement?
What happens to the songs afterward?
Your catalogue can become more valuable as your career develops.
Do not make permanent decisions based solely on short-term excitement.
Create a Catalogue Budget
Music production costs money.
If your goal is to build a catalogue, create a realistic annual music budget.
Consider costs such as:
Songwriting
Studio recording
Producers
Musicians
Mixing
Mastering
Artwork
Video production
Distribution
Promotion
Copyright administration
Marketing
A sustainable catalogue strategy is better than spending everything on one expensive release and then being unable to produce another song for two years.
Reinvest Some Music Income Into New Music
If your catalogue begins generating legitimate income, consider reinvesting part of it into additional music.
For example:
Royalty income → New recording → Promotion → New listeners → Additional royalties → Larger catalogue
This creates a potential cycle of reinvestment.
Instead of immediately spending every payment, think about how part of the income can help build the next asset.
Don't Measure Success Only by Fame
An upcoming musician can have a valuable catalogue without being a celebrity.
Fame may increase exposure, but catalogue value is also influenced by:
Quality
Ownership
Listener demand
Longevity
Discoverability
Consistent promotion
Rights management
Distribution
Licensing opportunities
Your objective should be to build something that remains valuable even while your public profile is still growing.
A Five-Year Catalogue Strategy
Think beyond your next song.
Imagine a musician releases:
Year 1: 6 songs
Year 2: 6 songs
Year 3: 8 songs
Year 4: 8 songs
Year 5: 10 songs
That is potentially 38 releases over five years.
Not every song will perform equally.
But the artist now has a substantial body of work.
Each song can potentially introduce a new listener to the artist.
Some songs may become long-term favourites.
Others may become useful in live performances.
Others may attract licensing opportunities.
Others may perform well as caller tunes.
The important thing is that the artist has created a portfolio rather than depending on one recording.
Build the Catalogue Before You Need It
One of the best reasons to start early is that successful music careers can develop unexpectedly.
A song released today might not attract much attention.
Then another song becomes popular.
Suddenly people begin searching for everything the artist has ever released.
If the musician already has a well-organised catalogue, new fans have plenty of music to discover.
But if there is only one song available, that opportunity may be much smaller.
This is why catalogue building should begin before fame arrives.
Your Catalogue Is More Than a Collection of Songs
Think of your catalogue as a business asset.
It contains:
Music
Copyright
Masters
Compositions
Performances
Metadata
Contracts
Distribution records
Royalty history
Audience relationships
The larger and better organised this asset becomes, the more opportunities you can potentially create around it.
A Practical Catalogue-Building Plan for an Upcoming Musician
Here is a simple strategy you can implement.
Step 1: Define Your Musical Identity
Determine what you want listeners to associate with your name.
Step 2: Plan Your Next 10 Songs
Do not necessarily record all 10 immediately, but map out the themes and release strategy.
Step 3: Establish Your Rights
Document writers, composers, producers and ownership arrangements.
Step 4: Record Professionally
Prioritise quality.
Step 5: Organise Your Metadata
Make sure every contributor and song detail is accurate.
Step 6: Distribute Through Appropriate Channels
Make your music available through the relevant platforms and content providers.
Step 7: Promote Every Release
Do not assume that distribution equals discovery.
Step 8: Build a Fan Base
Turn listeners into genuine supporters.
Step 9: Monitor Performance
Study which songs are attracting the most attention and generating royalties.
Step 10: Keep Releasing
Continue adding quality music to your catalogue.
Over time, the catalogue becomes increasingly comprehensive.
The Long-Term Goal: Build Music That Can Keep Working
The ultimate objective is not simply to release 50 songs.
It is to create a catalogue containing songs that people continue to discover, listen to, share, use and enjoy.
For a musician, that can create opportunities long after the day of the original recording session.
Skiza is one example of this model. Safaricom has described the platform as an avenue for musicians to earn from their creativity, and the company has reported substantial historical royalty payments associated with Skiza.
But no platform should be treated as a guaranteed income source.
The strongest strategy is to build a catalogue that can potentially generate value across several legitimate channels.
Final Thoughts
An upcoming musician does not need to wait until becoming famous before building a serious music catalogue.
In fact, the catalogue should ideally be growing while the artist is still becoming known.
Every quality song gives you another opportunity to reach a listener.
Every listener gives you another opportunity to build a fan.
Every fan gives you another opportunity to create genuine demand for your music.
And every properly documented song becomes another intellectual-property asset that can potentially generate royalties or other income when appropriately used.
The process can be viewed simply:
Create → Protect → Distribute → Promote → Build an audience → Monitor → Repeat.
Do not focus only on your next hit.
Build a body of work.
Do not focus only on fame.
Build ownership and discoverability.
Do not focus only on immediate income.
Build assets that can potentially continue creating value over time.
For an independent musician, that mindset can make the difference between having a few songs online and building a genuine music business.
Do You Love Worship Songs?
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