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Dancehall icon Stonebwoy has cast doubt on the financial value of music catalogues within Ghana’s music industry, sparking debate among fans, colleagues, and industry stakeholders.
In a video shared by X user @eddie_wrt during an interview on Loud Lounge, the Into the Future hitmaker stated: “I don’t believe that any catalogue in Ghana currently is going to earn a mention at around $3–4 million.”
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His blunt remark has ignited conversation around the commercial viability of Ghanaian music archives, especially at a time when African genres such as Amapiano, Highlife, and Afro-dancehall are gaining international recognition.
The issue of catalogue value has recently been a hot topic in Ghana’s entertainment circles. Last week, Angela and Wish Me Well crooner Kuami Eugene asserted in an interview that his catalogue remains commercially vibrant. He dismissed the idea of selling it, stressing that he believes in the longevity and future profitability of his work. “My music is still selling. There’s no need for me to sell my catalogue,” Eugene noted. His position contrasts with several Western acts who have sold off their catalogues for multi-million dollar pay-outs, often citing financial security or diminishing relevance.
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These discussions come against the backdrop of reports suggesting that some of Ghana’s leading Afrobeats and Dancehall acts have signed agreements with Waka Music Limited, a company that manages and distributes catalogues to boost global exposure. Such deals are seen as strategic efforts to monetise extensive back catalogues on international markets.
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What Is a Music Catalogue?
A music catalogue refers to the entire body of songs, compositions, and recordings owned or controlled by an artiste, songwriter, or record label. This may include:
Released singles, EPs, and albums
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Unreleased songs and demos
Publishing rights (lyrics, melodies, and compositions)
Master rights (sound recordings themselves)
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What Does It Mean to Lease a Catalogue?
Leasing a music catalogue means the owner temporarily grants another entity the rights to use the music—often for commercial ventures—in exchange for financial compensation.
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Stonebwoy’s comments have therefore raised key questions: Is the Ghanaian music industry undervaluing its intellectual property, or is the global market simply not prepared to place multi-million dollar tags on local catalogues yet?