D-Black Reveals Only Sixteen Stations Pay Ghana Music Royalties

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Ghanaian rapper and entrepreneur D-Black has drawn public attention to the low level of royalty compliance among the country’s broadcasting stations.

In a post shared on Wednesday, he stated that only 16 radio and television stations out of more than 700 have been paying royalties to Ghanaian musicians through the Ghana Music Rights Organisation (GHAMRO) for years.

Accompanying the post was an official GHAMRO graphic titled “Top Complying 2026 Broadcasting Channels.” The graphic lists the stations that have fulfilled their royalty obligations and supports music rightsholders in Ghana. The stations named include SportyTV, PCG TV, Pent TV, Nasira 104.5 FM, Lucky FM, Joy Prime, Hope FM, Channel One TV, Adom TV, Adom 106.3 FM, Pent Radio 90.1 MHz, YFM 99.5 FM, Asempa 94.7 FM, Hitz 103.9 FM, Joy 99.7 FM and Citi 97.3 FM.

D-Black described the situation as sad. His comments follow a recent meeting he held with the new chief executive of GHAMRO, during which he was shown the list of complying stations. He expressed shock at the small number of broadcasters that regularly meet their legal obligations to pay for the music they air.

These payments form an important part of the income that many musicians rely on in addition to live performances, digital streaming and other sources.

The revelation has renewed long-standing concerns within the Ghanaian music industry about the difficulty of collecting broadcast royalties. For years, artists and industry observers have pointed out that a large majority of stations either do not pay or fail to submit accurate music usage reports.

Without those reports and payments, GHAMRO cannot lawfully distribute corresponding royalties to the creators whose works are being played.

D-Black, whose real name is Desmond Kwesi Blackmore, has been vocal on industry issues for more than a decade. He has previously criticised the effectiveness of royalty collection and distribution systems in Ghana. His latest intervention comes at a time when GHAMRO has been attempting to improve transparency, including the introduction of personalised royalty statements and more regular distribution cycles.

The limited number of names on the list, however, underscores how few broadcasters currently fall into that category.

Ghana has hundreds of licensed radio and television stations operating across the country. The rapid expansion of the broadcasting sector since the liberalisation of the airwaves in the 1990s has created a crowded media landscape. While this growth has increased opportunities for music to reach audiences, it has also complicated the task of monitoring usage and enforcing payment of royalties.

Musicians have repeatedly argued that the failure of most stations to pay royalties undermines the sustainability of the creative industry. For many artists, especially those outside the top commercial tier, broadcast royalties can represent a meaningful portion of their earnings.

When the majority of stations do not contribute, the overall pool of money available for distribution remains small, and individual payouts stay modest.

Industry stakeholders have called for stronger enforcement mechanisms, better monitoring technology, and closer collaboration between GHAMRO, the National Communications Authority, and the Ministry of Tourism, Arts and Culture. Some have suggested that non-compliant stations should face clearer sanctions, including the possibility of licence-related consequences.

GHAMRO has in recent periods distributed sums exceeding GH¢1.4 million in a single cycle, covering background music, digital mechanical, digital performance and live performance royalties. Officials have pointed to improved digital collections and international income as positive developments.

Yet the organisation has also publicly acknowledged that more than 90 percent of broadcast stations either do not pay or fail to provide accurate reports, a situation that continues to limit the funds available for local rightsholders.

D-Black’s decision to share the list of complying stations has brought the issue back into public conversation. By highlighting the 16 stations that do pay, he has simultaneously praised those that meet their obligations and drawn attention to the large number that do not. The post has circulated among musicians, managers and industry observers, many of whom have expressed frustration at the long-standing nature of the problem.

The discussion raises broader questions about the value placed on creative work in Ghana’s media ecosystem. Music forms a central part of radio and television programming, driving audience engagement and commercial value for stations.

When the creators of that music are not compensated through the established royalty system, the economic foundation of the industry is weakened.

As the conversation continues, pressure is likely to grow on non-compliant stations to regularise their payments and on GHAMRO to intensify its collection and enforcement efforts. For Ghanaian musicians, the gap between the number of stations that play their music and the number that pay for it remains one of the most persistent challenges in the local industry.

D-Black’s intervention serves as a public reminder of that gap. With only 16 stations identified as consistent payers out of more than 700, the scale of non-compliance is clear.

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