The Ghana Music Rights Organisation, GHAMRO, has explained why Fancy Gadam received GH¢123.82 in his latest royalty statement, following public concern raised by the musician.
Fancy Gadam took to social media on 15th December 2025 after opening his royalty statement and expressing disappointment at the amount. He questioned how years of consistency, performances and cultural influence could result in such a modest return.
His post quickly gained traction, drawing reactions from fans, fellow musicians and industry observers, and sparking a wider conversation about how music royalties are calculated and distributed in Ghana. Attention soon turned to GHAMRO.
In a response issued the following day, GHAMRO acknowledged Fancy Gadam’s contribution to Ghanaian music but clarified that royalty payments are not measures of popularity or relevance. According to the organisation, royalties are determined strictly by defined rights, usage data and collections.
GHAMRO explained that it does not collect or distribute sound recording, or master, royalties from digital streaming platforms such as Spotify, Apple Music and Boomplay. These payments are made directly to the owner of the master recording, usually through a digital distributor or record label.
In effect, if Fancy Gadam owns his sound recordings, the bulk of his streaming income does not pass through GHAMRO but is paid through other channels.
The organisation stated that the royalties it administers are publishing royalties, which represent the songwriter’s share of digital earnings. This portion is considerably smaller than many assume, accounting for about 15 to 20 per cent of total digital streaming revenue. The remaining 80 to 85 per cent relates to sound recording rights, which fall outside GHAMRO’s mandate.
GHAMRO added that data quality also affects distributions. Incomplete or inconsistent usage reports submitted by Digital Service Providers reduce the amounts available for distribution to rightsholders.
Beyond digital platforms, GHAMRO pointed to broader structural challenges. It 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 instances, the organisation says it cannot legally distribute royalties, regardless of how frequently an artiste’s music is played on radio or television.
The same applies to income from live performances and synchronisation licences, which depend on proper licensing, accurate programme documentation and the registration status of musical works. Unlicensed shows or unreported usage do not generate royalties.
GHAMRO reaffirmed its commitment to transparency and fairness and encouraged Fancy Gadam and other members seeking clarification to engage directly with its distribution department for detailed explanations of their royalty statements.
While the GH¢123.82 figure frustrated some, it also reignited a necessary conversation about rights, systems and accountability in the music business. The episode served as a reminder that while applause is public and immediate, royalties are shaped quietly by contracts, data and who ultimately pays for the music.
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