African music is now global. Songs recorded in Lagos, Accra, Nairobi, and Johannesburg are streamed daily in the US, UK, Europe, and Asia. Genres like Afrobeats, Highlife, Gqom, and Amapiano are no longer local phenomena; they dominate international charts and playlists.
Yet despite this global reach, many African artists — from upcoming to mid-level — still struggle to receive royalties generated outside their home countries. The reasons are often structural, technical, and administrative rather than a lack of talent or audience.
This article explains cross-border royalties from scratch, why the system often fails African artists, and how this income stream fits into the wider structure of
how musicians make money in Nigeria. We also provide actionable steps for artists looking to maximize earnings abroad.
How Do African Artists Earn Royalties From Other Countries?
African artists earn cross-border royalties when their music is streamed, broadcasted, or used abroad, properly tracked by international platforms, collected by foreign royalty bodies, and transferred back through publishers, PROs, or distributors.
If tracking, registration, or data matching fails at any point, the royalties never reach the artist. Many times, the artist is unaware that the money exists at all.
To illustrate: A Nigerian artist’s song streamed on Spotify in the US generates mechanical royalties in dollars. These royalties are first calculated by the US royalty collection society (ASCAP, BMI, or SoundExchange). The society must then route the earnings to the artist’s publisher or local PRO in Nigeria, who then converts and pays the artist in local currency. Miss any step, and the artist loses the money.
What Are Cross-Border Royalties?
Cross-border royalties are earnings generated when an artist’s music is used outside their country of residence. They are a subset of the broader royalty ecosystem that includes mechanical, performance, and synchronization (sync) royalties.
These royalties occur whenever international audiences pay, stream, broadcast, or license your music. Examples include:
- International streaming (Spotify, Apple Music, YouTube)
- Foreign radio and TV airplay
- Live performances abroad
- Film, advert, and TV placements outside Africa
The same rules that apply locally also apply internationally — but the challenge lies in tracking and reporting, which are far more complex across borders.
For context, these earnings fall under different royalty types already explained in
difference between mechanical, performance & sync royalties.
The Royalty Types That Travel Across Borders
Not all royalties are equally portable. Here is a simple guide:
| Royalty Type | Generated From | Works Internationally? | Typical Channels |
|---|---|---|---|
| Mechanical | Streams & downloads | Yes | Spotify, Apple Music, Amazon Music, Tidal |
| Performance | Radio, TV, public use | Yes | Radio stations, TV networks, venues abroad |
| Sync | Films, ads, TV shows | Yes | International licensing agencies, advertising firms, film studios |
How Cross-Border Royalties Are Supposed to Work
Theoretically, the process is linear and clear:
- Music is released by an African artist.
- The song is streamed, broadcasted, or licensed abroad.
- Foreign platforms or broadcasters report usage to their PRO or collection society.
- Foreign PROs or royalty bodies collect revenue and validate ownership.
- Funds are transferred to local PROs, publishers, or distributors.
- The artist receives payment in local currency or via international bank transfer.
In practice, this chain often breaks at multiple points. Missing registration, mismatched metadata, or underdeveloped relationships with foreign PROs can stop royalties from reaching African artists.
Why Cross-Border Royalties Fail for African Artists
1. Poor Song Registration
Many African artists upload songs but never properly register them for publishing. Registration involves more than uploading music; it includes creating official song splits, registering with a PRO, and providing ISRC codes for tracking. Without these, international systems cannot identify ownership.
This same mistake is addressed in
how to register your songs for maximum earnings in Nigeria.
2. Weak PRO Connectivity
Some African PROs struggle with international data exchange. Many do not maintain active reciprocal agreements with foreign societies. This affects performance royalties, especially radio and TV airplay abroad. Even when a song is popular in London or New York, Nigerian PROs may never receive a report.
This is why many artists complain about PRO payments, as explained in
PROs in Nigeria: how they pay artists.
3. Data Mismatch
Incorrect song titles, missing songwriter splits, or inconsistent artist names prevent international systems from matching usage to ownership. For example, if an artist uses “AfroVibes” on one platform and “Afro Vibes” on another, automated systems may fail to recognize the song as the same work.
4. Over-Focus on Streams Alone
Many artists focus exclusively on streaming revenue and ignore other income streams like sync placements, radio plays, or public performances abroad. This leads to disappointment when streaming alone does not cover expected international royalties.
This misunderstanding is also why many artists are shocked by payouts explained in
how Nigerian artists earn from Spotify US & UK streams.
Upcoming vs Mid-Level Artists: Who Loses More?
Not all artists experience the same challenges. Early-career and mid-level performers face different hurdles:
| Artist Level | Main Issue | Effect | Example |
|---|---|---|---|
| Upcoming | No registration or structure | No international royalties | Unsigned artist streaming on global platforms but never receiving payouts |
| Mid-Level | Partial structure | Underpaid globally | Artist with distributor but incomplete PRO registration, losing radio or TV royalties abroad |
The Role of Publishers in Cross-Border Royalties
Publishers are essential for African artists seeking international royalty collection. They help by:
- Registering songs with foreign PROs and global databases
- Resolving metadata issues and conflicts
- Collecting and distributing foreign publishing income
Without publishers, artists often lose substantial cross-border income. Publishers act as the bridge between local systems and global royalty networks, ensuring that every play, broadcast, or sync is monetized.
How African Artists Can Improve International Royalty Collection
Artists can take actionable steps to secure and maximize foreign income:
- Register songs properly: Include ISRC codes, songwriter splits, and full metadata.
- Understand publishing vs distribution: Distributors deliver music; publishers ensure royalties are collected.
- Track ISRCs and songwriter splits: Ensure every contributor is documented accurately for payments.
- Promote music internationally: Create demand abroad, increasing chances that streams and performances are reported.
- Work with reputable publishers or PROs: Verify they have international agreements.
- Audit royalty statements: Regularly check that payments align with plays and placements abroad.
Common Misconceptions About Cross-Border Royalties
- “If my song is popular internationally, I automatically get paid”: False. Popularity does not guarantee correct registration and payment.
- “Streaming is the only international income”: False. Performance, sync, and licensing income often surpass streaming.
- “My local PRO handles everything automatically”: Only true if your PRO has strong international agreements and accurate data submission.
Practical Example
Consider an Afrobeats artist whose single reaches Spotify charts in the US. If the song is not registered with BMI or ASCAP, the streams generate revenue in dollars but remain uncollected. A publisher registering the same track with proper ISRCs ensures every stream is counted, and earnings are eventually paid to the artist via local distributors.
How This Fits Into the Bigger Music Income Picture
Cross-border royalties are one income stream within the full system explained in
how musicians make money in Nigeria. Other streams include local performances, merchandise, brand deals, and live events. Understanding all streams ensures financial stability and prevents over-reliance on streaming alone.
Key Takeaways for African Artists
- Cross-border royalties exist and are substantial, but require structure to access.
- Proper registration, accurate metadata, and international publisher partnerships are essential.
- Different artist levels face different challenges, but every artist benefits from proactive management.
- Streams, broadcasts, live performances, and sync licenses all contribute to global earnings.
- Understanding the system prevents disappointment and turns cross-border royalties into a predictable revenue stream.
Final Reality
Cross-border royalties are real — but they are structure-dependent. African artists don’t lose money because the system hates them. They lose money because the system requires clarity, registration, and consistency.
Once those gaps are fixed, international royalties stop being mysterious and start becoming predictable. With proper planning, an African artist can tap into global streams, radio, and sync opportunities, earning a fair share of the international music economy.
African music is a global product, and global payments are available. The key lies in understanding, registering, and managing your rights like an international professional.
