Modern music in Burkina Faso began to industrialize at the turn of the 2000s, with the advent of the first dedicated companies, Seydoni Production, Tam Tam Production and others. No sooner had these companies been set up than they were hit hard by the record industry crisis. In this context, most record companies closed down or reoriented themselves towards more economically viable sectors such as communications. Those that remained or moved on had to reinvent themselves to cope with the crisis. This paradigm shift involved a shift in the forms of contractualization, from the artist's contract to the 3600 contract, offering the possibility of taking advantage of every possible niche for the artist, including that linked to image management.The overall aim of this book is to identify the resilience of Burkinabe music companies in the face of the record industry crisis, through the branding of the artists in their catalogs, and to identify the strategies deployed to develop and sell them.