For many upcoming Nigerian artists, royalties sound like something mysterious that only established musicians enjoy.
Terms like PROs, publishing bodies, and royalty collection organizations are mentioned often, yet very few artists truly understand how they work or why payments rarely arrive.
This lack of clarity has created frustration across the industry.
Some artists believe PROs do not pay at all, while others assume registration alone guarantees income.
In reality, the truth lies somewhere in between.
To understand how artists earn publishing royalties in Nigeria, it is important to first understand what PROs are, what they actually do, and why many Nigerian musicians never receive payments — even when their songs are legally eligible.
What Is a Performing Rights Organization (PRO)?
A Performing Rights Organization (PRO) is a body that represents songwriters and music publishers by tracking how songs are publicly used and collecting royalties on their behalf.
In simple terms, PROs collect money when a song is:
- Played on radio or television
- Performed live at events or concerts
- Used in public spaces like clubs, hotels, or malls
- Broadcasted or publicly communicated
PROs do not deal with uploading music or streaming payouts.
Their focus is on public performance royalties, which fall under music publishing.
This difference becomes clearer when compared with how streaming income works, already explained in
how Nigerian artists get paid from streaming platforms.
Direct Answer: How Do PROs Pay Artists in Nigeria?
Direct answer: PROs pay artists by collecting license fees from radio stations, TV stations, event organizers, and businesses that use music publicly, then distributing those funds to registered songwriters based on reported and tracked usage.
However, payment only happens when three conditions are met:
- The artist is properly registered
- The song is actively used publicly
- The usage is correctly reported or tracked
If any of these steps fail, payment does not happen — which explains why many Nigerian artists never see royalties.
Main PRO Bodies in Nigeria (At a Glance)
| Organization | Role | Who They Represent |
|---|---|---|
| COSON | Collects public performance royalties | Songwriters & publishers |
| MCSN | Collects performance royalties | Composers, authors, publishers |
These organizations license music usage and attempt to distribute royalties, but their effectiveness depends heavily on reporting accuracy and cooperation from music users.
Why Many Nigerian Artists Never Get Paid by PROs
This is the part many articles avoid, but it reflects industry reality.
1. Lack of Real Usage
Royalties are usage-based.
If a song is not played on radio, TV, or live events, there is nothing to pay.
This same usage problem explains why many artists struggle across income streams, as already explained in
why streams don’t always mean money for Nigerian artists.
2. Poor Reporting Systems
Many public music users in Nigeria do not submit accurate playlists or usage reports.
When usage is not properly documented, PROs cannot allocate payments correctly.
3. Incomplete Registration
Some artists register their names but fail to properly register individual songs, splits, or songwriter details.
Without correct documentation, royalties remain unassigned.
4. Confusion Between Publishing and Distribution
Many artists believe uploading music through distributors automatically covers publishing.
It does not.
This confusion has already been broken down in
music streaming royalties explained for Nigerian artists.
How PRO Royalties Differ From Streaming Royalties
| Area | PRO Royalties | Streaming Royalties |
|---|---|---|
| Source | Radio, TV, public performances | Spotify, Apple Music, Audiomack |
| Payment Speed | Slow, accumulated | Monthly or quarterly |
| Focus | Songwriting & composition | Audio recordings |
What Upcoming Nigerian Artists Should Do Realistically
First, understand that PROs are not shortcuts to money.
They are tracking systems.
Second, focus on promotion.
Radio play, live performances, and visibility are what activate publishing royalties.
Third, keep records.
Every song should have documented writers, splits, and titles.
Artists who treat music as a structured business tend to earn more consistently across all channels, as explained in
how Nigerian musicians build multiple income streams.
Final Thought
PROs in Nigeria are not perfect, but they are not scams either.
They function within the limits of usage tracking, reporting, and industry cooperation.
For upcoming Nigerian artists, the key lesson is simple:
Royalties do not come from registration alone.
They come from usage, visibility, and structure.
When understood properly, PROs become one piece of the broader income system already outlined in
how musicians make money in Nigeria.
