Nick Matzukis is a published author, academic, lecturer, Advocate of the High Court, and an expert in both the music and education industries. With decades of experience, he has written numerous accredited articles and four textbooks, including the highly acclaimed Music Law, Contracts and Business – The Smart Musician’s Guide to How the South African Music Industry Works, How to Negotiate the Best Possible Contracts, and How to Make Money from Music in South Africa and Overseas. Matzukis has been at the forefront of legal and business matters within the music industry, having served on the boards of high-level industry collecting societies, including CAPASSO (Composers and Publishers), POSA (Performers), and SAMPRA (labels and studio performers). He has also advised the government and appeared before Parliament regarding music copyright laws, solidifying his reputation as a key figure in the industry.
Despite his success today, Matzukis’s journey into the music industry was not without its struggles. Like many musicians, he initially pursued his passion without fully understanding the business side of things. His love for music started at an early age, as he was introduced to the violin by his mother, who ensured he took lessons twice a week for eight years. However, his true passion lay in drumming, and he would often play on his mother’s pots and pans. Eventually, he embraced both music and law, excelling in copyright and contracts at university. During his final year, he was encouraged to tutor, which led to his third passion—teaching.
After years of academia, Matzukis left the legal field to chase his dreams as a musician, joining the highly successful pop band, The Helicopters, in the late 1980s. The band dominated the South African music scene, selling hundreds of thousands of albums and headlining tours. At their peak, they performed to massive crowds alongside up-and-coming bands like Mango Groove. However, the dream soon turned into a nightmare when they returned home from a successful tour to find that their management company had been dissolved, and their money was nowhere to be seen. Neither was there any money forthcoming from their label or publisher. This harsh reality led Matzukis to investigate the legal side of the music industry, only to discover how deeply unfair the contracts they had signed were. Determined to change the system, he began offering legal assistance to fellow musicians, eventually working with major artists like Simphiwe Dana and Sipho “Hotstix” Mabuse.
Matzukis played a crucial role in shaping the South African music industry by consulting with major industry stakeholders, including SAMRO and CAPASSO, and serving as the founding chairperson of CAPASSO. He also played a pivotal role in settling a historic R500 million lawsuit, ensuring fair compensation for producers and artists. His expertise in copyright law led to multiple appearances before Parliament, where he advocated for fairer music industry policies.
Recognising the lack of formal music business education in South Africa, Matzukis established the Allenby Campus in partnership with Academy of Sound Engineering. Through this Academy, he has educated countless musicians on how to navigate the complexities of the industry, ensuring they are well-equipped to handle contracts, royalties, and copyright matters.
Empowering Women in the Music Industry
One of the most significant shifts in the South African music industry has been the increasing presence and influence of women. Matzukis notes that, despite the industry’s history of discrimination and misogyny, women are breaking barriers and proving their capabilities in various roles. The South African music industry has not only been guilty of discriminatory behaviour towards women—it has at times been downright misogynistic, he states. However, in the past six or seven years, this dynamic has begun to change, with more women stepping into leadership positions.
One notable example is Annabell Lebethe, who now heads SAMRO, an institution historically dominated by older white men. This shift signals a new era for women in the industry, highlighting the importance of knowledge and empowerment. Matzukis emphasizes that education is key for female artists to gain respect and be taken seriously. “Women are far more prepared to understand the business aspect of the music industry,” he explains, noting that female students consistently rank as top performers at Academy of Sound Engineering.
Matzukis’s female interns, all of whom have had to maintain top distinctions throughout their studies, have gone on to achieve remarkable success in the industry. He has observed that women excel in A&R (Artist and Repertoire), as they possess a unique ability to identify and nurture talent. Even in his personal life, he relies on his 16-year-old daughter’s keen eye for social media and trends, reinforcing his belief that women have a natural talent for shaping the future of the industry.
The growing number of female record label owners, managers, music publishers, and copyright lawyers is reshaping the landscape of South Africa’s music business. Matzukis believes that corporate investment in programs aimed at empowering women with knowledge is a critical step toward achieving gender equity. As the sub-Saharan African music industry continues to grow at an impressive 31% annually, opportunities for women in music are expanding at an unprecedented rate.
The Importance of Education and Contracts
Matzukis strongly advises all artists, particularly women, to educate themselves about contracts and copyright before signing anything. “The two most important words in the music industry are copyright and contracts,” he states. Many artists only seek legal help after they have already signed unfavourable agreements, which can be difficult to reverse due to South African contract laws. He stresses that understanding contractual terms is essential for protecting one’s interests and ensuring long-term financial stability.
He recalls his own experience of blindly signing contracts as a young artist, only to suffer the consequences years later. Today, he dedicates a significant portion of his courses to teaching students how to navigate and negotiate contracts, ensuring they enter the industry with the knowledge necessary to advocate for themselves.
Matzukis’s journey from being a ripped-off musician to a legal expert and educator serves as a powerful lesson for aspiring artists. His message is clear: musicians must view themselves as businesses and take charge of their careers by acquiring knowledge and understanding their rights. “Tyla understands her business,” he points out, emphasizing that success in the music industry is not just about talent but also about strategic decision-making.
For women in the industry, the call to action is even more urgent. With the music business evolving and offering more opportunities, now is the time for female artists, producers, and executives to step up and claim their space. By simplifying industry structures, fostering collaboration, and prioritising education, women can continue breaking barriers and shaping the future of South African music.
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