GHAMRO Clarifies Fancy Gadam's GH¢123.82 Royalty Payment

The Ghana Music Rights Organisation (GHAMRO) has responded to concerns raised by musician Fancy Gadam regarding a meagre GH¢123.82 royalty payment detailed in his latest statement.

Gadam publicly expressed his disappointment on December 15, 2025, questioning how his years of dedication, performances and influence could yield such a small return. His post quickly sparked a national conversation about royalty distribution within the Ghanaian music industry.

In a statement released on December 16, 2025, GHAMRO acknowledged Fancy Gadam’s contributions to Ghanaian music, clarifying that royalty payments are determined by usage data and legally defined rights, not simply by an artist’s popularity.

According to GHAMRO, the organisation does not collect or distribute royalties for sound recordings – often called master royalties – from digital platforms like Spotify, Apple Music, and Boomplay. These payments go directly to the owner of the master recording, typically through a distributor or record label.

“If Fancy Gadam owns his sound recordings, the significant portion of his income from streaming would bypass GHAMRO and be paid through alternative avenues,” the statement explained.

GHAMRO clarified that it focuses on collecting and distributing publishing royalties – representing the songwriter’s share of digital revenues. This portion, they noted, typically constitutes only 15 to 20 per cent of a song’s total digital earnings, with the remaining 80 to 85 per cent accruing to the sound recording rights holder.

The organisation also highlighted issues surrounding the accuracy of data provided by Digital Service Providers. Incomplete or inconsistent reports directly impact the total royalties available for distribution.

Beyond streaming, GHAMRO pointed to a systemic problem with broadcast stations, revealing that over 90 per cent either do not pay royalties or submit inaccurate usage reports. “Without proper reporting, we are legally unable to distribute royalties, even if a song is regularly played,” a GHAMRO spokesperson stated.

This issue extends to live performances and synchronization licenses, where accurate documentation and proper registration of musical works are crucial for generating royalties. Unlicensed performances and unreported usage fail to create any royalty income.

GHAMRO reiterated its commitment to transparency and encouraged Fancy Gadam, and any other member requiring further detail, to consult directly with their distribution department. “We are open to providing a detailed breakdown of royalty statements to ensure clarity and understanding,” they added.

The situation with Fancy Gadam’s payout underscores the complexities of music rights and the need for continued dialogue regarding accountability and equitable distribution within Ghana’s music ecosystem. While public appreciation for an artist is readily visible, royalty earnings, as GHAMRO clarified, are governed by far more intricate mechanisms.

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