Ghanaian music creators are entering December 2025 with renewed hope, as the Ghana Music Rights Organisation (GHAMRO) commences its royalty distribution, releasing a total of GH₵856,700.00 to rightsholders.

The payout, covering Digital, Live Events, Synchronisation, Blank Media Levy, and General Public Performance revenue streams, signifies a deliberate move by GHAMRO to address long-standing concerns about transparency and credibility within the royalty system.

A breakdown of the distribution reveals that General Public Performance royalties constitute the largest share, amounting to GH₵470,199.07. Digital royalties totalled GH₵156,700.00, while Blank Media Levy contributed GH₵199,200.93. Live events royalties reached GH₵24,600.00, and Synchronisation royalties accounted for GH₵6,000.00.

Combined, Digital revenue and Blank Media Levy represent 41.5 per cent (GH₵355,900.93) of the total distribution. The remaining 58.5 per cent (GH₵500,799.07) comes from live performances, synchronisation, and general public performance collections.

This distribution underscores a crucial point: royalties are directly linked to usage, payment, and compliance, rather than solely on an artist’s popularity, according to GHAMRO officials.

A key element of this improved system is GHAMRO’s partnership with the World Intellectual Property Organization (WIPO) and the implementation of the WIPO-Connect platform. “WIPO-Connect introduces order to an industry where music travels instantly, but accounting has traditionally been slow,” a GHAMRO spokesperson explained.

The platform promises rightsholders clearer insights into royalty calculations and reduces manual inefficiencies for the organisation. The December 2025 distribution utilizes a hybrid methodology, applying Title-Specific Allocation to Digital, Live Events, and Synchronisation royalties – rewarding individual works based on actual usage. Blank Media Levy and General Public Performance royalties are distributed using a market share method.

However, GHAMRO emphasizes that technology is only part of the solution. “Royalties only reach the right creators when musical works are properly registered, correctly identified, and fully paid for by music users,” the organisation stated.

A significant challenge remains broadcaster compliance, with GHAMRO reporting that over 90 per cent of broadcast networks in Ghana are non-compliant with royalty payments and accurate usage reporting. This non-compliance limits the full potential of the royalty system.

Looking ahead, GHAMRO plans to issue individual statements to rightsholders with future distributions, detailing how each payment was calculated and which works generated the revenue. “By replacing mystery with information, we hope to shift conversations from emotion to evidence,” said a GHAMRO representative.

GHAMRO views these efforts as a continuous process of building trust within the music industry, reliant on registration, compliance, and engagement from all stakeholders. The organisation believes that precision, data, and accountability are vital for the future of Ghana’s music economy.

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