By Editorial Desk | Watchdog Uganda
KAMPALA – The Uganda Performing Right Society (UPRS) has officially broken its silence regarding the intense public scrutiny and mixed reactions following its latest distribution of UGX 216 million in royalties to eligible local rights holders.
In an official statement signed by the Board Chairman, Martin Nkoyoyo, the collective management organization conceded that the current financial payouts do not yet match the expectations and economic aspirations of Uganda’s creative industry.
However, the society strongly clarified that royalty payments are strictly performance-based, meaning that artists are compensated proportionately based on documented airplay and music consumption data, rather than their mere popularity or membership status.
Low Figures Are Not the Final Destination
UPRS emphasized that the UGX 216 million payout should be viewed as a starting point rather than a benchmark for success.
“Every musician, composer, publisher, and rights holder deserves to earn more from the use of their works,” the statement reads. “Indeed, the fact that we are distributing UGX 216 million should not be viewed as the destination, but rather as one step in a much larger journey towards building a stronger and more sustainable copyright economy for Ugandan creators.”
The society highlighted the challenging local environment within which collective management operates. For decades, Uganda’s creative sector has suffered from low copyright compliance, weak enforcement mechanisms, and a culture where a significant proportion of commercial music users operate without valid licenses.
Against this difficult backdrop, UPRS notes that any upward increment in revenue collection represents vital progress toward compelling music consumers to pay for the commercial value they derive from artistic works.
Why Some Artists Earn Millions While Others Get Pennies
Addressing the widespread complaints from artists who received surprisingly low payouts, UPRS explained the scientific criteria used to calculate individual royalties. The society clarified that funds are not shared equally, but are guided by rigid, approved Distribution Policies aligned with global collective management principles.
The core elements dictating how much an artist receives include:
Documented Usage Data: Actual logs from radio stations, television channels, digital platforms, and commercial venues.
Repertoire Information: Properly registered songs, splits, and copyright ownership data filed by the artist.
Applicable Distribution Rules: Pre-approved formulas mandated by the society’s governance organs.
“The purpose of royalty distribution is not to reward membership but to compensate rights holders proportionately for the use of their works,” UPRS clarified. “It is therefore entirely possible for some members to receive a few thousand shillings while others receive several million shillings, depending on the extent to which their music has been utilized within the period under review.”
A Call for Industry-Wide Compliance
Moving forward, UPRS insists it remains fully committed to absolute financial transparency in both its collection and distribution pipelines. The board welcomes constructive stakeholder scrutiny as it works to mend relations and restore confidence among Ugandan creatives.
The society’s immediate roadmap focuses on:
Aggressively pushing for higher copyright compliance among broadcasters and commercial venues.
Deploying improved, digital music-monitoring mechanisms to track airplay accurately.
Expanding licensing coverage across the country to drastically grow the total royalty pool.
UPRS has called upon musicians, promoters, media house owners, and government enforcement agencies to support efforts aimed at strengthening copyright protection. According to the board, raising compliance remains the only sustainable path toward boosting the long-term earnings of Ugandan artists.
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