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Akosua Agyapong Slams GHAMRO Over Royalty Payments

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  Published in Media and Entertainment on Friday, February 13th 2026 at 15:15 GMT by Yen.com.gh
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Accra, Ghana - February 13th, 2026 - Veteran Ghanaian Hiplife artist Akosua Agyapong has launched a scathing critique of the Ghana Music Rights Organisation (GHAMRO) and its former president, Bice Osei Kuffour, popularly known as Obour, alleging systemic failures in the collection and distribution of music royalties. Her outspoken accusations, made during an interview on Class 91.3 FM, have reignited a long-simmering debate about the financial security of Ghanaian musicians and the efficacy of the organization tasked with protecting their rights.

Agyapong's central claim revolves around the non-payment of royalties to its members during Obour's tenure. She asserts that despite GHAMRO collecting revenue generated from the public performance and broadcast of musical works, these funds were not adequately disbursed to the artists who rightfully own them. "We haven't received royalties. GHAMRO's accounts are not transparent. They say they collect money but don't pay," she stated, echoing sentiments shared by numerous musicians within the Ghanaian creative industry.

This isn't a new complaint. For years, whispers of mismanagement and a lack of transparency have plagued GHAMRO. Agyapong's public condemnation elevates these whispers to a roar, demanding accountability and sparking a renewed call for independent audits and reforms. The situation highlights a critical vulnerability within Ghana's burgeoning music scene: the precarious financial stability of its artists. Many Ghanaian musicians rely heavily on performance and broadcast royalties as a primary source of income, making the alleged withholding of these funds particularly damaging.

The implications extend far beyond individual financial hardship. A lack of reliable royalty payments discourages artistic investment, stifles creativity, and can ultimately hinder the growth of the entire music industry. Emerging artists, in particular, struggle to gain traction when they cannot fairly benefit from their work. It creates a cycle of financial insecurity that forces talented individuals to pursue alternative careers, depriving the nation of its cultural potential.

GHAMRO's current leadership has yet to issue a comprehensive response to Agyapong's specific claims. However, sources within the organization acknowledge the historical challenges related to royalty collection and distribution. These challenges, they state, are multifaceted and include difficulties in accurately tracking music usage across various platforms, inefficient administrative processes, and the high costs associated with legal battles over copyright infringement.

While these factors undeniably contribute to the problem, critics argue that they do not excuse the lack of transparency and accountability. Many are calling for a complete overhaul of GHAMRO's operational structure, including the implementation of a digitized royalty tracking system and the establishment of an independent oversight committee comprised of industry stakeholders, legal professionals, and financial experts. Such a committee would be tasked with monitoring GHAMRO's financial activities, conducting regular audits, and ensuring that royalties are distributed fairly and efficiently.

Beyond GHAMRO, the broader legal and regulatory framework surrounding copyright protection in Ghana is also under scrutiny. Some observers suggest that existing laws are outdated and inadequate to address the complexities of the digital music landscape. Strengthening copyright laws and enhancing enforcement mechanisms are seen as crucial steps in protecting the rights of musicians and ensuring that they receive fair compensation for their work. Furthermore, there are calls for increased government funding for GHAMRO to support its administrative capacity and invest in technology that can streamline royalty collection and distribution.

Agyapong's bold statement is more than just a personal grievance; it's a symptom of a systemic problem threatening the future of Ghanaian music. It's a clarion call for greater transparency, accountability, and a fundamental restructuring of the system to ensure that musicians are adequately compensated for their contributions to the nation's cultural heritage. The coming weeks are likely to see increased pressure on GHAMRO to address these concerns and demonstrate a commitment to safeguarding the financial well-being of Ghanaian artists.