The issue of unpaid royalties and lack of transparency in Tanzania's music industry has sparked a heated debate among musicians and stakeholders. Despite the popularity of their songs, many artists struggle to track their earnings and receive what they are owed. Jaiva, a Bongo Flava artiste, recently spoke out about not receiving online royalties from his songs, including "Soup" and "Kautaka". His experience highlights a wider concern among artistes about the transparency and accountability of the royalty system.
The government has announced plans to distribute approximately Sh2 billion in royalties to artistes in November 2026, following a statement by Minister for Information, Culture, Arts and Sports Paul Makonda in September. While this payout has raised hopes among creators, it has also renewed questions about whether Tanzania's royalty system can deliver the transparency and accountability artistes have long demanded. The Copyright Society of Tanzania (COSOTA) administers copyright-related services, including licensing and royalty collection and distribution.
Music royalties are payments made to rights holders when their copyrighted works are used commercially. These earnings can come from broadcasting, public performances, streaming, and other forms of music distribution. However, digital music earnings may follow different payment arrangements, with streaming platforms, distributors, and record labels handling revenue according to their agreements with rights holders. This distinction is crucial in understanding Jaiva's complaint and the complexities of the royalty system.
The frustration among artistes goes beyond receiving money; it is also about understanding how their music is monitored, how earnings are calculated, and where payments may be delayed or disputed. In January 2022, COSOTA distributed Sh312.29 million to 1,123 artistes for 5,924 musical works, but the distribution attracted criticism from the Creative Industry Network Tanzania and Twaweza over transparency and beneficiary selection.
The challenge has become increasingly important as digital platforms allow Tanzanian music to reach audiences across different countries. A song may generate revenue through several platforms and territories, making accurate ownership records, clear contracts, and accessible payment statements essential to tracking earnings. Improved technology could help address some of the gaps in monitoring music usage and provide more reliable information for calculating royalties.
The Society of Music Advocacy (SOMA) has discussed royalty collection, distribution, membership registration, and licensing with COSOTA, and is testing a digital system designed to identify songs played on radio stations. If implemented effectively, the system could improve radio-airplay monitoring and provide more reliable information for calculating royalties. However, addressing concerns over streaming income, publishing rights, and payments governed by private contracts requires a more comprehensive approach.
The planned November distribution offers an opportunity to strengthen confidence in the system, but its success will ultimately depend on how transparently the money is allocated and whether artistes can understand the payments they receive. For emerging musicians, unclear contracts and incomplete ownership records can complicate efforts to claim earnings long after a song has been released. The industry must prioritize transparency, accountability, and clear communication to ensure that creators receive fair compensation for their work.
Key points
- Tanzanian musicians are voicing concerns over unpaid royalties and lack of transparency in the music industry.
- The government plans to distribute Sh2 billion in royalties to artistes in November 2026.
- Improved technology and transparent procedures are essential to ensuring that creators receive fair compensation for their work.
