[EDITORIAL] KiDi Sounds the Alarm: How Lack of Industry Structures is Undermining Ghanaian Talent

Ghanaian star KiDi sparked a crucial conversation about the state of the country’s music economy in a frank interview on Hitz FM, arguing that Ghana “does not have a proper music industry” because it lacks the institutional structures artists need to thrive. His comments made during his interview on Daybreak Hitz via Hitz FM join a growing chorus of artists, managers and analysts who say talent alone isn’t enough: systems must exist to protect earnings, scale careers and attract investment.

What KiDi said (the headline claim)

Speaking on Hitz FM, KiDi argued that while Ghana certainly has musical talent, it lacks the structures, reliable institutions, transparent revenue collection, standardised contracts, and investor-friendly governance that constitute a functioning music industry. He warned that without these systems, artists must “survive on vibes and inshallah,” exposing careers to risk and limiting long-term growth.

The core structural problems (what the evidence shows)

1. A broken royalties and rights-management system

Multiple high-profile complaints and analyses show that Ghana’s royalty-collection mechanisms are under strain. Artists have publicly reported receiving negligible payments from Ghana’s collecting societies such as GHAMRO, ARSOG, etc., and investigative commentary has described a system hampered by poor data, weak enforcement and governance issues. These problems mean recorded works generate little predictable income for creators.

Why this matters: predictable royalty flows are the backbone of a modern music business; they fund artists, underpin licensing, and allow investors, event promoters and labels to model returns.

2. Weak institutional capacity and governance

Academic and industry reports dating back several years highlight chronic weaknesses: limited enforcement of copyright law, piracy, insufficient monitoring of public performances and broadcasts, and constrained operational capacity at key institutions. These long-standing gaps reduce the ability of institutions to collect, audit, and distribute revenues equitably.

3. Investor scepticism and lack of financing vehicles

Without clear revenue streams, transparent governance, and standardised contracts, external investors are understandably hesitant. A formalised value chain (record companies, publishers, PROs, distributors, live-music infrastructure, management firms) reduces risk. Ghana is still building many of those components. Projects that aim to strengthen industry structure, including donor and public-private initiatives, point to the recognition of this gap.

4. Professionalisation gaps (management, contracts, venues)

Many artists operate independently without experienced management, legal support, or access to quality live venues and distribution networks. Capacity-building for managers, producers and promoters is needed to professionalise how music is packaged, negotiated and monetised. Studies and policy recommendations emphasise artist management and venue development as priority areas.

How these problems show up in artists’ lives

• Low or no royalty income — artists with hit songs report receiving trivial payouts or nothing, despite radio play and streaming. This undermines livelihoods and reduces the time artists can devote to craft.
• Opportunistic contracts — artists without legal literacy may sign unfair agreements, surrendering rights and future earnings.
• Limited career pipelines — lack of structured A&R, development funding, and touring circuits means many talented artists plateau.
• Risk to legacy artists — without proper rights enforcement, veteran musicians can be deprived of the income their catalogues should generate.

Where reforms are already being proposed or piloted

A handful of projects and expert reports have pushed practical solutions: strengthening GHAMRO-like entities with better tech, auditing, and governance; building live-music infrastructure; training artist managers; and designing financing windows for creative enterprises. International cooperation and donor projects have started to support these aims, but scale and political will remain limiting factors.

Practical, evidence-based recommendations

1. Modernise rights collection infrastructure
   • Invest in digital monitoring and metadata systems to track radio plays, streams and public performances.
   • Commission independent audits of collecting societies and publish regular transparent distribution reports.
2. Governance reforms for collecting societies
   • Reform board elections, introduce stronger member oversight, and adopt international best practices in fiduciary duty and transparency. This will restore trust among members and rights holders.
3. Legal and contract literacy for artists
   • Scale training for artists and managers in contract negotiation, IP registration, and revenue streams (publishing, sync, neighbouring rights).
   • Provide templates for fair deals and a legal aid window for creatives.
4. Create financing instruments and incentives
   • Establish grants, matching funds, and tax incentives to attract private capital into labels, venues, and distribution. Public-private partnerships can lower investor risk.
5. Professionalise management and live circuits
   • Fund management training programs and incubators for creative SMEs.
   • Develop regional touring circuits and regulated, well-managed venues to increase concert revenue.
6. Public awareness and stakeholder coordination
   • Create a national music-industry task force (artists, government, broadcasters, PROs, investors) to craft a 3–5-year industry roadmap.

Counter-arguments and practical limits

• Some will point to examples of Ghanaian artists who have succeeded internationally — and they’re right. But success stories often rely on exceptional luck, strong individual teams, or foreign infrastructure rather than a domestic, scalable industry model. KiDi’s point is systemic: the average artist lacks predictable pathways.
• Reform requires funding and a strong political will to build systems that are costly and necessitate a long-term commitment. Donor projects can help jump-start reforms, but sustainability requires domestic revenue models and stakeholder buy-in.

Conclusion: KiDi’s wake-up call

KiDi’s interview isn’t just celebrity commentary; it’s a timely critique from inside the ecosystem. The evidence from artists’ complaints, investigative pieces, and academic studies supports his central complaint: Ghana has an abundance of talent, but the structures that convert creativity into stable careers and national economic value are underdeveloped. Addressing royalties, governance, professional capacity, venues, and financing is not optional; it’s essential if Ghana wants to transform creative brilliance into a sustainable, exportable industry.