Performing artists have welcomed the tabling of the Copyright and Neighbouring Rights (Amendment) Bill, 2025, describing it as a long-overdue reform that finally gives creatives stronger protection and a fairer share of revenue from their work.
The excitement was echoed recently following an engagement between the parliament Committee on Legal Affairs and a delegation from the Uganda National Musicians Federation (UNMF) led by its president, Michael Kalumba, and vice president, singer Sheebah Karungi.
Kalumba said the group, having participated in extensive consultations since the draft’s release, was encouraged by the government’s responsiveness. He noted that the new Bill addresses critical gaps in the current law, strengthens revenue collection mechanisms and acknowledges new realities in the digital age.
“We are in full support of the Bill as it is, even understanding that some eliminations were made at different stages,” Kalumba told MPs.
Tackling Caller Ring-Back Tones
One of the major concerns that has long frustrated artists is remuneration from caller ring-back tones (CRBT). For years, artists complained of being sidelined by telecom companies that pocketed the lion’s share of revenues.
According to UNMF’s director of research, Martin Muhumuza, who also manages musician Edrissa Musuuza, alias Eddy Kenzo, this lack of regulation had robbed artists for nearly two decades.
“For the past fifteen years, CRBT has been in the air but no one was regulating it. The telecom companies were doing as they pleased. Imagine the creator of these works was receiving only 1.8 percent of what was collected,” Muhumuza explained.
He hailed the new Bill for correcting this imbalance. “We thank the government and our colleagues who pushed for this, and you the Members of Parliament for lifting this burden. At least now the percentage is clear and fair. We hope it stays that way,” he said.
Clause 11 of the Bill introduces a new remuneration structure. Under the proposal, the creator of a caller ring-back tone would receive 60% of earnings, while telecommunication operators retain 31.5 percent and aggregators 8.5%.
Digital Protection
Beyond ring-back tones, Muhumuza praised the framers for including provisions on digital protection and enforcement. He argued that since the last copyright law was enacted in 2006, the industry has been upended by digital platforms and streaming services.
“Today, we are dealing with a new world of streaming platforms, content sharing, and digital creation. Without digital protection, those people are working in the dark,” Muhumuza said.
He recommended that Parliament empower the Copyright Directorate under URSB with more staff and resources to serve as a neutral enforcement body. He also called for simplification of the Bill’s technical language so that creatives without legal training can fully understand their rights and obligations.
Voices from the Industry
The artists present welcomed the developments with enthusiasm.
“This is our fight. I am sure every musician and creative person is so happy,” said Sheebah Karungi shortly after the session.
Singer Pius Mayanja, better known as Pallaso, also commended the Bill, pointing out how much had changed since the principal law was enacted nearly two decades ago.
“It has been way overdue because some of the devices and technologies we are using today did not exist back then. The population was much smaller. At the time, Uganda had only one TV station—UTV—and one radio station, Radio Uganda, which could be supervised by one person. Today, the media space is flooded with outlets, and now we even have Artificial Intelligence to contend with,” he said.
Pallaso warned that if Uganda does not fix digital copyright issues first, the country risks being overwhelmed by AI-generated content. “If we enter AI before fixing digital, we will be headed in the wrong path,” he cautioned.
He noted that countries such as Nigeria and China have already reaped the benefits of reforming their copyright laws, saying: “It is never too late for Uganda to do the same.”
Brand Positioning and Revenue Diversification
As artists await the benefits of the new legal framework, producer Michael Onegui, alias Rinex of ‘Bogolako’ fame, urged creatives to think beyond traditional music sales.
“I might not sing, but I make beats, write songs, and get an artist to perform them. That too is a way of monetizing music. Producers should also focus on elevating their brands by selling merchandise and exploring new business avenues,” he advised.
He explained that studio charges have also evolved with time. “In the past, musicians paid a flat studio fee of about Sh400,000 to record a song. For me, I charge Sh200,000 for an hour of studio time. So five hours is Sh1 million. But I also have packages for upcoming artists who need more training and rehearsal. In such cases, I scrap studio time and bring in my creative team to guide the artist through the process,” Rinex said.
The Private Copying Levy Debate
One contentious issue is the proposal for a private copying levy on gadgets like smartphones, laptops, flash disks and external drives. The levy, meant to compensate artistes for private reproductions of their work, was dropped from the Bill after Attorney General Kiryowa Kiwanuka argued it would raise the cost of digital devices.
But state minister for Gender and Culture, Peace Regis Mutuuzo, pushed back, saying the government had not reached consensus on abandoning the levy.
“It is something we have not agreed on as a government. While the Ministry of Justice feels it may discourage access, they are only looking at the academic side. But if someone has registered a caller ring-back tune and you call them, even if you are not interested in music, you will end up listening to it. That is consumption of content,” Mutuuzo argued.
She likened it to reading other people’s writings on digital devices. “Instead of downplaying the concern, we should address it,” she said.
Legal Perspectives
Some legal experts, however, maintain that the existing copyright regime is deterrent enough and that additional levies would only burden consumers.
Kenneth Muhangi of the Uganda Law Society said many artists already benefit from global streaming platforms. “If I have a song on Spotify, Apple Music, or YouTube, I am already earning from my content. A levy would only add more taxes and make devices more expensive at a time when mobile phones are essential for financial inclusion and learning,” he observed.
Quoting a Baganda proverb, Muhangi added: “Tomegga noluma, you cannot wrestle someone down and then bite them as well.”
The Bigger Picture
For artistes and government alike, the Bill represents a significant step toward aligning Uganda’s copyright framework with global standards. While debates remain over levies and enforcement, there is a broad consensus that the creative sector has been neglected for too long.
As Pallaso summed it up: “Other countries amended their copyright laws and took off. For us, it has taken a long, but it is not too late. Uganda’s creatives are ready.”