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When Fancy Gadam opened his latest royalty statement and saw GH¢123.82, the figure felt less like a reward for longevity and more like a missed beat. The celebrated Northern-based artiste did not keep the disappointment private. On 15 December 2025, he took to social media, openly questioning how years of consistency, performances and cultural influence could produce such a modest return.
The post resonated almost instantly. Fans, fellow musicians and industry watchers weighed in, transforming what began as a personal concern into a broader conversation about how music royalties are calculated and distributed in Ghana. Before long, the spotlight shifted to the Ghana Music Rights Organisation, GHAMRO.
The organisation responded the following day with an official explanation. While acknowledging Fancy Gadam’s contribution to Ghanaian music, GHAMRO was quick to clarify that royalty payments are not badges of popularity nor judgments on an artiste’s relevance or success. They are, instead, the product of defined rights, data and collections.
Central to GHAMRO’s explanation was a distinction that often goes unnoticed outside industry circles. The organisation does not collect or distribute sound recording, or master, royalties from digital streaming platforms such as Spotify, Apple Music and Boomplay. Those payments are made directly to the owner of the master recording, typically through a digital distributor or record label.
In simple terms, if Fancy Gadam owns his sound recordings, the larger portion of his streaming income is not lost. It simply reaches him through a different channel, one that does not pass through GHAMRO.
The royalties GHAMRO does administer are publishing royalties, which represent the songwriter’s share of digital earnings. This portion, however, is significantly smaller than many expect. Publishing royalties account for only 15 to 20 per cent of total digital streaming revenue, while the remaining 80 to 85 per cent is tied to sound recording rights that fall outside GHAMRO’s mandate.
Even this smaller share is influenced by data quality. GHAMRO noted that when Digital Service Providers submit incomplete or inconsistent usage reports, the amount available for distribution to rightsholders is directly affected.
Digital platforms, however, are only part of a much wider challenge. GHAMRO disclosed that more than 90 per cent of broadcast stations in Ghana either do not pay royalties or fail to submit accurate usage reports. In such cases, the organisation says it cannot legally distribute royalties, regardless of how often an artiste’s music is played on radio or television.
Income from live performances and synchronisation licences follows a similar logic. Payments depend on proper licensing, accurate programme documentation and the registration status of musical works. Unlicensed shows or unreported usage, no matter how energetic the crowd or how viral the performance, do not generate royalties.
In reaffirming its commitment to transparency and fairness, GHAMRO encouraged Fancy Gadam and other members seeking clarity to engage directly with its distribution department for detailed explanations of their royalty statements.
For some, the GH¢123.82 figure was a source of frustration. For others, it became an entry point into a long-overdue discussion about rights, systems and accountability in the music business. Either way, the episode served as a timely reminder that while applause is public and immediate, royalties are governed quietly by contracts, data and, ultimately, who is paying for the music.
