Behind the stage lights and social media glamor, Uganda’s music industry tells a different story, one where even successful artists struggle financially despite producing hits that dominate airwaves. The disconnect between public perception and private reality has sparked honest conversations about sustainability, with industry veterans warning that without structural changes, the current system cannot support long-term careers.
B2C Entertainment’s Julio recently revealed they invested 20 million Ugandan shillings in a single music video with no guarantee people would even like the song, highlighting the financial gamble artists take repeatedly. That’s just one project, he noted, yet musicians need about five such projects annually to compete with international standards.
Over the years, musicians have struggled financially due to the lack of robust copyright law, with many falling into financial distress after their careers declined. Some have relied on fundraisers to cover medical bills, a stark contrast to the wealth many appear to project online.
President Yoweri Museveni approved a new copyright management system in February 2025 designed to address these persistent challenges. The system tracks where and how often music is played, distributing royalties based on actual airplay rather than artist popularity. If a venue pays one million shillings in licensing fees and one artist’s song plays 60 percent of the time, that artist receives 600,000 shillings, with the remainder shared among others whose music was used.
Dr. Joel Isabirye, Principal Development Economist at State House, explained the system will provide long-term financial benefits, allowing artists to earn forever as people continue playing their old songs. Even when they can no longer perform due to age or health issues, they can generate income, with grandchildren and future generations benefiting as long as their music plays.
The announcement came during a February 28 meeting at Rwakitura attended by Deputy Speaker Thomas Tayebwa, Minister of State for Gender and Culture Peace Mutuuzo, and musician Eddy Kenzo, who serves as Senior Presidential Advisor for Creatives and President of the Uganda National Musicians Federation.
Yet implementation remains the challenge. The Uganda music market faces limited infrastructure and resources for artists, piracy issues leading to revenue loss, and lack of proper copyright enforcement. The industry also struggles with limited funding and investment opportunities, hindering growth and development. Competition from international music and digital platforms makes it harder for local artists to gain visibility.
There are no genuine record labels in Uganda, with most companies referred to as labels being merely artist management companies. This inadequacy places severe strain on musicians to find profitability and sustainability in making music.
MTN Uganda has tried filling some gaps through its CallerTunez platform, where fans choose favorite songs as ringback tones and every selection sends money to artists. These small, regular earnings are quietly revolutionizing how musicians survive between shows. Spice Diana, one of Uganda’s top female acts, credits the platform with boosting her reach and revenue.
Fik Fameica shares similar sentiment, saying MTN’s involvement changed the game. Before MTN stepped in, getting music out to massive audiences was always a struggle, he noted. Their platforms, from concerts to CallerTunez, have transformed how artists reach fans and monetize efforts.
MTN MoMo has also revolutionized concert culture by simplifying payments, with fans now using Mobile Money for tickets, merchandise, and refreshments. For artists, this means less cash leakage and more money in their pockets after performances.
Despite these innovations, challenges persist. Ziza Bafana recently voiced concern that the Ugandan music industry risks having no future if artists continue producing songs that fade away in just a month. Speaking in an August TikTok video, he stressed that local musicians must evolve and focus on creating timeless music with international appeal.
He drew comparisons with African stars who faced similar struggles but broke through after reinventing their craft. Even Burna Boy used to have music like ours until they figured it out and moved on to become world stars, he noted. Bafana urged Ugandan artists to shift from making music that only entertains local audiences and instead aim for global recognition, arguing that short-lived songs and industry gimmicks hold back progress.
Several artists who once commanded attention have struggled to stay at the top. Cosign burst onto the scene with soulful tunes like Obeera Wa and Okikola Otya featuring Fik Fameica about five years ago, but has since gone quiet. Beenie Gunter reigned as Uganda’s dancehall king with hits like Sekkle Down and No Letting Go with Lydia Jazmine, but his prominence has faded.
Shena Skies, a brilliant songwriter who has penned several hits for other artists, has struggled to make her mark as a solo artist. She recently opened up about her frustrations, citing lack of management and industry support as major barriers. Despite undeniable talent, her solo career hasn’t soared as many hoped.
Limited access to funding, piracy, and lack of robust infrastructure pose significant obstacles for artists and industry professionals alike. The COVID-19 pandemic dealt a severe blow to the live music sector, forcing many musicians to adapt to virtual performances and digital platforms to sustain livelihoods.
Rapper Mun G touched on challenges of staying true to oneself in an industry that often rewards trends. Artists who chase trends, always seek the spotlight, or follow what others are doing often lose themselves, he noted in January. To protect his mental health, Mun G prefers maintaining a low profile and avoiding excessive media attention.
The financial pressures extend beyond production costs. Organizing a concert is a costly gamble, and turning fans into income often feels like chasing the wind. Monetization gaps and logistical hurdles have made sustaining a music career an uphill climb for even the most gifted performers.
Uganda’s music industry is not only a source of entertainment but also a catalyst for social change and cultural expression. Many artists use their platforms to address pressing social issues, from gender equality and environmental conservation to political activism and youth empowerment. Through their music, they amplify marginalized voices, challenge societal norms, and inspire positive change within communities.
In recent years, Uganda’s music industry has witnessed a surge in international recognition, with artists like Eddy Kenzo, Sheebah Karungi, and Bobi Wine gaining acclaim on the global stage. Their success has put Ugandan music on the map and opened doors for collaboration and cultural exchange with artists worldwide.
The Uganda music market is primarily driven by growing popularity of Afrobeat and other African music genres. With a mix of traditional and modern music genres including Afrobeat, reggae, and dancehall, Ugandan artists have gained international recognition. The market is driven by a growing young population with strong interest in music and increasing access to digital platforms for music distribution.
Organizations such as the Uganda Musicians Association play a crucial role in advocating for the rights and welfare of musicians, while platforms like the HiPipo Music Awards recognize and celebrate excellence in the industry. Looking ahead, stakeholders are optimistic about the future, with initiatives underway to address some of the sector’s key challenges.
Investments in music education, infrastructure development, and copyright protection are seen as essential steps to nurture the next generation of talent. However, addressing challenges like piracy, limited infrastructure, and lack of industry regulations remains crucial for fostering a more sustainable and thriving music market.
The new copyright management system represents a significant step forward, but its success depends on enforcement. The system includes anti-piracy measures by tracking unauthorized usage and deterring piracy, helping reduce the spread of unlicensed music and protecting artists’ financial interests. Usage tracking monitors how often and where music is played, whether on radio, television, or entertainment venues like bars and hotels.
For the system to work, businesses must comply with new regulations or risk closure. Enforcement measures include penalties for non-compliance, requiring businesses to adhere to new regulations. State House scientists under the leadership of Eng. Sheba Kyobutungi developed the project, which might mark a new era of professionalism and financial stability for Uganda’s creative industry.
Eddy Kenzo emphasized commitment to ensuring the amendment’s passage and protection of Uganda’s creative industry, noting the new system marks a significant step toward professionalism and financial stability for Ugandan artists. The Copyright Amendment Draft Bill has been sent back to Parliament for further consideration.
The gap between appearance and reality in Uganda’s music industry isn’t unique to the country but reflects broader challenges facing African entertainment sectors. Artists face pressure to maintain glamorous public images on social media while privately struggling to cover basic living expenses and production costs. This creates what some call a culture of pretense, where admitting financial difficulties feels like admitting failure.
MTN Uganda’s Together Our Music Is Unstoppable initiative is proving it’s not just here for the hype but for the legacy, the hustle, and the future of Ugandan music. From music legends like Halima Namakula, who’s celebrating 50 years in music, to gospel icons like Pastor Bugembe and hitmakers like Spice Diana and Fik Fameica, MTN is walking the journey with them.
Yet corporate sponsorship alone cannot solve systemic problems. The industry needs functioning copyright enforcement, transparent royalty distribution, genuine record labels that invest in artist development, better infrastructure for recording and performing, and financial literacy programs helping artists manage earnings.
The absence of robust music industry associations and regulatory frameworks contributes to difficulties faced by artists in terms of fair compensation, rights protection, and professional development opportunities. Addressing these challenges will be crucial in fostering a more sustainable market.
What’s clear is that Uganda’s music industry stands at a crossroads. The talent is undeniable, the cultural richness abundant, and international recognition growing. But without addressing the financial realities behind the glamorous facade, even the most gifted artists will continue struggling to sustain careers, let alone build generational wealth from their creative work.
The new copyright system offers hope, but implementation will determine whether it transforms the industry or becomes another well-intentioned policy that fails to materialize. For now, artists continue balancing public personas with private struggles, hoping that honest conversations about these challenges will lead to genuine solutions rather than just social media debates.
Source: newsghana.com.gh
