“We survive on shows” — Medikal raises concerns over weak royalty system
Ghanaian rapper Medikal has raised fresh concerns about the structure of the country’s music industry, highlighting the limited financial returns artistes receive from royalties despite the high value of their work.
In a video shared by BBC News Pidgin on 17 April, the “Omo Ada” hitmaker said many musicians in Ghana struggle to earn sustainable income from recorded music, forcing them to rely heavily on live performances.
According to him, top-tier artistes can command performance fees of up to GH¢1 million, although such figures often vary depending on the event and negotiations.
“Sometimes if I go play a show, my charge fit be like GH¢1 million… but people no dey believe because the system no clear,” he said.
Despite these high performance fees, Medikal noted that the absence of a robust royalty system undermines long-term financial stability for artistes.
He compared the situation in Ghana to more developed music markets such as United States, where musicians can earn sustained income from a single hit through royalties, licensing, and streaming.
“In America, one song can take care of you for like 10 years. But here, we dey survive by playing shows, moving up and down just to make ends meet,” he explained.
The rapper also highlighted the financial pressures within the industry, noting that artistes often bear the cost of promoting their own music. These expenses, he said, include payments to producers, DJs, and media platforms to ensure visibility.
He further criticised the royalty distribution system, alleging that some collective management organisations pay artistes as little as GH¢100 to GH¢120 over extended periods.
“If after years, a whole creative body gives an artist just GH¢100, then the structure is not solid,” he added.
Medikal’s comments add to ongoing calls within Ghana’s creative industry for reforms, particularly in areas such as royalty collection and distribution, digital monetisation, and institutional support for artistes.
Industry stakeholders have increasingly pointed to the need for stronger systems that ensure musicians can earn fair and consistent income from their intellectual property, beyond live performances.
