I’ve received GHC374 as royalties from GAMRO this year – Fancy Gandam

Award-winning Ghanaian singer, Mujahid Ahmed Bello, professionally known as Fancy Gadam has claimed that the Ghana Music Rights Organisation (GHAMRO) sent him an additional GHC272 days after publicising their previous payment of GHC102 as royalties.   Speaking on Artsy on Saturday, August 3, 2024, the crooner said, “They sent me GHC102 and after I posted it on […]

I’ve received GHC374 as royalties from GAMRO this year – Fancy Gandam

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Award-winning Ghanaian singer, Mujahid Ahmed Bello, professionally known as Fancy Gadam has claimed that the Ghana Music Rights Organisation (GHAMRO) sent him an additional GHC272 days after publicising their previous payment of GHC102 as royalties.

 

Speaking on Artsy on Saturday, August 3, 2024, the crooner said, “They sent me GHC102 and after I posted it on my status, and then when my boss saw it he then posted it and yesterday they sent another one. They sent me GHC272.”

“I don’t even know the period of this payment. It’s been a year since I received money from them.”

According to the “Total Cheat” hitmaker, the organisation does not provide any criteria for these funds.

“So you will usually be there, and then they just sent you a token for royalties. And I don’t understand because, looking at what I have brought out this year, I know my songs are everywhere in Ghana, especially the competition album that I dropped. Looking at the streams out there.

“And I have been paying a lot of things before doing my concerts, like VAT, I constantly pay VAT so I don’t understand why they are giving me this token. Is this the only thing I deserve from GAMRO? The last time they paid me it was GHC1,800 or so,” he added.

Despite his widespread popularity and significant contribution to the local music scene, the modest amount he received has raised questions about the effectiveness of GAMRO in ensuring fair compensation for artists.

GAMRO, responsible for collecting and distributing royalties to musicians, has often faced criticism for its transparency and distribution methods. Fancy Gadam’s disclosure highlights the ongoing challenges in the system and underscores the need for reforms to ensure that artists are adequately rewarded for their creative efforts.

 

 

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