Highvibes Called This a New Audiomack Deal in February 2026. Audiomack’s Own Catalogue Shows a Highvibes Account Since 2019.

Highvibes Distribution, the Ghana-headquartered distributor already on record for a January 2026 Beatport integration, announced on 2 February 2026 that it had “officially signed a global licensing agreement with Audiomack and is now fully integrated with the platform.” Read on its own, that is a clean story: a new deal, a new platform, a fresh route for the company’s roster. Read against Audiomack’s own public catalogue, the story gets more complicated. A Highvibes-operated account on Audiomack has existed since November 2019. Tracks carrying Highvibes’ name as a licensing credit appear on Audiomack as early as 2023. Nothing in either company’s announcement explains that gap, and no fee, royalty split or term was disclosed by either side.

Here is what the primary sources do and do not establish.

What was actually announced

Highvibes’ own post is the only document naming this specific agreement. It states that music distributed through Highvibes “can now be made available on Audiomack, one of the world’s leading music discovery platforms, especially dominant across Africa, North America, the Caribbean, and emerging music markets globally.” No individual is named or quoted anywhere in the post. That is notable by comparison: the company’s January 2026 Beatport announcement quoted both its chief executive and its president by name. This one quotes no one.

An independent trade write-up of the same announcement, published a day later, adds a detail the Highvibes post does not contain: a figure for Audiomack’s reach, 50 million monthly active users as of January 2025, up 31 per cent. That same write-up attributes a paraphrased statement to “the CEO and Founder of Highvibes” about the partnership aligning with a goal of increasing artist visibility and audience reach. That line does not appear anywhere in Highvibes’ own announcement. This record treats that as a documented discrepancy between the company’s own account and a secondary report of it, not as evidence either account is wrong. It is possible the quote came from a separate conversation the trade outlet had with the executive. No source confirms that, and none denies it.

A catalogue that predates the press release by years

Audiomack’s own profile page for the Highvibes account states plainly: “Member Since: Nov ’19.” That is a Highvibes-operated presence on Audiomack dating to November 2019, more than six years before a post announcing that Highvibes “is now fully integrated with the platform.”

The account’s own release history backs that up. An album credited to Morena Wa Limpopo on the Highvibes account, five tracks with their own ISRC codes, carries a publish date of 13 February 2021. A promotional track titled “Highvibes Ad,” also on the Highvibes account, carries a publish date of 22 August 2025, five months before the licensing announcement. Neither of those releases is explained by anything in the February 2026 post, which describes the agreement as new.

Third-party catalogue on Audiomack tells the same story from a different angle. A track by DJ Mellowshe, uploaded under its own separate account rather than Highvibes’, carries the phonogram credit “(P) 2023 Highvibes Digital LLC” and a publish date of 19 May 2023. A second track, by an artist called Mascara Vibez, carries the credit “(P) 2025 Mascara Vibez/NSG Media Under exclusive license to Highvibes Digital Ltd.” Audiomack’s own internal upload record for that file is timestamped 19 February 2025, roughly a year before the announcement, though the track’s displayed publish date on the platform reads 19 August 2026, six months after it. Why those two dates differ this way is not explained by anything this desk could find, and it is stated here as an open question rather than resolved one way or the other.

Put together: Highvibes was crediting itself, under two different legal-entity suffixes, as a licensor of record on Audiomack content at least as far back as May 2023, nearly three years before announcing that it had “officially signed” a licensing agreement with the platform. The directory could not establish Highvibes’ legal entity name from any Ghanaian register when it built the company’s profile, so it cannot say which of “Highvibes Digital LLC” and “Highvibes Digital Ltd” is the accurate current name, or whether one simply replaced the other at some point. Both forms exist, on Audiomack’s own servers, attached to real releases with real dates.

What this is, and what it is not

On the face of the only document that states it, this is a licensing and delivery arrangement: Highvibes routes repertoire from its distributed roster onto Audiomack’s platform, and Audiomack carries it alongside its licensed major and independent label catalogue. It is not an acquisition. It is not an equity investment. It is not a transfer of masters or publishing, and Audiomack’s own company record, built independently of this one, states that the platform is privately held in the United States with no African owner, reaching African listeners through licensing arrangements with labels and distributors rather than through local ownership. Nothing found for this record moves Highvibes any closer to owning a piece of Audiomack, or the reverse.

Highvibes’ own “digital music store” marketing page lists an Audiomack logo in a carousel of platform logos the company says it can deliver to. The image files in that carousel were uploaded to the company’s media library in April 2025, ten months before the licensing announcement. As with the comparable Beatport logo in the same carousel, this record treats that as general reach marketing rather than as proof that a specific, named integration was operationally live on that date. A logo says a distributor believes it can reach a platform. It does not say when, or under what commercial terms.

What could not be confirmed

No document carrying Audiomack’s own account of this agreement, its terms, or its start date has been located by this desk. The announcement, and the trade coverage of it, are both sourced to the Highvibes side. Audiomack itself has not published anything naming Highvibes that this desk could find. That absence does not mean the deal is not real; platforms with catalogues the size of Audiomack’s do not necessarily announce every distributor relationship, and an existing informal presence being formalised into a direct agreement is a plausible explanation that nothing here rules out. It does mean this record cannot describe Audiomack’s side of what changed, because no document says.

What this means for artists

If you distribute through Highvibes, your music may already have had a route to Audiomack before this announcement, given the account activity documented above, so the practical question is not whether Audiomack access exists now but whether anything about how your release gets there, or what either company takes from it, has actually changed. Ask Highvibes directly what is different after 2 February 2026 than before it, because the public documents do not say.

If you distribute through someone else and want your music on Audiomack, this record is not evidence that Highvibes is now the only route, or even a new one. Audiomack has licensed catalogue from major and independent labels and from other distributors for years, independent of this specific announcement.

More broadly, this is a case study in why a press-release date and an operational start date are not always the same thing. “Officially signed” and “now fully integrated” describe a moment a company chose to announce, not necessarily the moment anything technical changed. When a platform’s own catalogue carries dated, verifiable activity under a company’s name years before that company’s announcement of a “new” deal with the same platform, the honest reading is not that the announcement is false, but that it is incomplete: it does not tell you what came before it, and neither party has published anything that does.