Ugandan Musicians: Why Copyright Bills Aren’t Enough to Go Global
- The passing of the Copyright and Neighbouring Rights (Amendment) Bill, 2025, by the Ugandan Parliament has sparked widespread celebration among the country's musicians, yet the legislative victory highlights...
- Uganda's copyright framework had remained largely unchanged since 2006, a period when digital streaming was not yet a primary consumption method and music distribution was predominantly physical.
- Under the new law, producers and performers are now eligible for compensation when their work is utilized in public performances, broadcasting, or commercial advertising.
The passing of the Copyright and Neighbouring Rights (Amendment) Bill, 2025, by the Ugandan Parliament has sparked widespread celebration among the country’s musicians, yet the legislative victory highlights a deeper strategic divide within the industry. While the law provides essential tools for revenue protection and professionalization, sustainable growth for Ugandan music depends less on legal frameworks and more on a fundamental shift from domestic, patronage-based success toward the cultivation of a global audience.
Updating a Stagnant Legal Framework
Uganda’s copyright framework had remained largely unchanged since 2006, a period when digital streaming was not yet a primary consumption method and music distribution was predominantly physical. The 2025 amendment addresses several modern realities of the creative economy.
Under the new law, producers and performers are now eligible for compensation when their work is utilized in public performances, broadcasting, or commercial advertising. This targets revenue streams from hotels, bars, and event promoters that previously utilized Ugandan music without compensating the creators.
The legislation also introduces specific regulations for telecommunications revenue, specifically regarding caller ring-back tones. The law defines a split where authors receive 30 percent and performers receive 30 percent separately.
the bill mandates that all copyright transactions must be documented in writing, moving the industry away from a long-standing reliance on verbal agreements and handshakes.
The Global Competitiveness Gap
Despite these legal gains, there is a stark contrast between the trajectory of the Ugandan music industry and that of its regional neighbors, particularly Nigeria. In 2025, Nigerian musicians earned more than US$43 million from the streaming platform Spotify, driven by 30.3 billion streams and approximately 1.6 billion hours of listening time.
Nigerian music has achieved global integration, appearing in over 320 million user-generated playlists and receiving regular nominations for international awards such as the Grammys. This global reach is exemplified by the inclusion of Nigerian artists on the annual playlists of former US President Barack Obama.
In contrast, many prominent Ugandan performers remain focused on domestic ceremonial performances, such as weddings and kwanjula (traditional introduction ceremonies). Critics argue that some artists prioritize seeking political patronage over artistic development, with some spending weeks in Gulu city attempting to secure meetings with Gen Salim Saleh.
Cultural and Professional Challenges
The industry currently faces what some describe as a culture gap
rather than a legal one. While the laws and platforms exist, professional standards have declined. Issues cited by industry veterans, including music promoter Tshaka Mayanja, include a lack of rehearsal and a tendency for performers to mime during live shows while spending performance time discussing personal grievances or their own image.
The historical trajectory of the industry shows that local dominance is fragile. In the 1990s, Congolese musicians dominated the airwaves and venues like Gaba Beach and Nakivubo Stadium. While artists such as Bobi Wine, Bebe Cool, and Jose Chameleone eventually broke that dominance and filled stadiums, foreign content is again rising. Nigerian music currently dominates the airwaves, and Congolese artists like Fally Ipupa, Ya Levis, and Awilo Longomba continue to perform in Uganda.
Unaddressed Gaps and Future Potential
Despite the celebration surrounding the 2025 bill, several gaps remain. The registration process for copyright is described as unfamiliar and potentially costly, which may discourage many musicians from utilizing the new protections.
the current copyright conversation has largely ignored the multimedia contributors who support music projects. Graphic designers, photographers, and music video directors are typically paid a one-time flat fee, leaving them without a share in the recurring revenue generated by the visual assets they create.
Experts suggest that the most sustainable revenue potential lies in licensing and publishing. If Ugandan artists can build high-quality, licensable catalogues and make them available through licensing companies, they can create recurring revenue streams that transcend the limited size of the domestic economy.