GHAMRO Explains Fancy Gadam’s GHS123.82 Royalty

Walter Sena
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GHAMRO Explains Fancy Gadam’s GHS123.82 Royalty
Fancy Gadam
The Ghana Music Rights Organisation (GHAMRO) has issued a public clarification following widespread criticism over a GHS123.82 royalty payment made to Ghanaian artiste Fancy Gadam, explaining that the amount reflects publishing royalties only and not earnings from digital master recordings.

In a statement released on December 16, 2025, GHAMRO acknowledged the concerns raised by Fancy Gadam and praised his long-standing contribution to Ghana’s music industry. However, the organisation stressed the need to clarify how royalties are generated and distributed within the current copyright framework.

According to GHAMRO, its mandate under the Copyright Act, 2005 (Act 690) is limited to the collection and distribution of mechanical, performance, broadcast and synchronization royalties on a case-by-case basis. The organisation emphasised that it does not collect or distribute sound recording (master) royalties from Digital Service Providers (DSPs).

GHAMRO explained that revenue from platforms such as Spotify, Apple Music, Audiomack and Boomplay is largely split between publishing and sound recording rights. Publishing royalties, which GHAMRO manages, account for only 15–20% of total streaming revenue, while the remaining 80–85% goes to the owner of the master recording, usually paid directly through digital distributors or record labels.

“If Fancy Gadam owns his master recordings, those digital earnings are paid to him by his distributor, not GHAMRO,” the statement noted, adding that any decline or absence of digital usage reports from DSPs affects only the publishing portion payable by the organisation.

On broadcast royalties, GHAMRO highlighted a major structural challenge, revealing that over 90% of broadcasting networks in Ghana are non-compliant with royalty payments. The organisation stated that where broadcasters fail to pay or submit valid usage reports, it cannot lawfully distribute royalties, regardless of how frequently an artiste’s music is played on air.

The organisation further explained that live performance and synchronization royalties are paid strictly based on reported, licensed and paid usage. Where such usage is not documented, no royalties can be generated for distribution.

GHAMRO stressed that fluctuations in royalty payments should not be interpreted as bias or a devaluation of any artiste’s work but are instead linked to verified data and actual payments received. It reaffirmed its commitment to transparency and fairness, citing its adoption of the WIPO-Connect system, hybrid distribution models, and CISAC-aligned best practices.





The organisation encouraged Fancy Gadam and other members to engage directly with its Distribution and Documentation teams for detailed, work-by-work explanations of their royalties.

The clarification comes amid renewed public debate over royalty systems in Ghana, with many artistes calling for improved compliance, reporting and education across the music ecosystem to ensure creators are fairly rewarded for their work.

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