Treaties, Modernisation and Effective use of Technology for CMOs in Nigeria

By Somadina Eugene Okorie 

As established in the previous article, a number of international treaties support the protection, management, and collection of copyrights. Taken together, these international agreements establish a clear global standard which stipulates that creators must be fairly compensated whenever their works are used commercially, whether in physical spaces or on digital platforms.

However, for these protections to work effectively at the national level, countries like Nigeria must develop modern, technology-driven, and transparent royalty management systems.

This is where Collective Management Organisations play a crucial role.

For Nigeria, aligning with already existing global standards means modernising its CMO structures, strengthening regulatory oversight, and adopting technology-driven tracking systems capable of monitoring music usage across pubs, radio stations, streaming platforms, and other commercial environments.

Without such modernisation, the rights guaranteed by international treaties risk remaining theoretical protections rather than practical financial benefits for Nigerian creators.

However, behind this global success lies a structural problem that continues to undermine the livelihood of many musicians. Chief among them is the ineffective royalty collection system operated by Collective Management Organisations (CMOs).

While Nigerian artists are achieving unprecedented international recognition, the systems meant to ensure they are fairly compensated for the use of their creative works remain largely analogue, outdated, and inefficient.

The Problem with the Current System

In principle, Collective Management Organisations exist to collect royalties on behalf of creators when their works are publicly used. This includes use on radio, television, streaming platforms, nightclubs, restaurants, or other commercial establishments.

But in Nigeria, the operational model used by CMOs remains obsolete and heavily dependent on guesswork.

Rather than relying on accurate tracking systems, the royalty distribution process often depends on estimations, incomplete reporting, or manual monitoring. This approach might have worked decades ago, but in today’s data-driven global music economy, it is deeply inadequate.

The result is that many artists, especially emerging or independent musicians, do not receive the full royalties due to them, despite their songs being played in public spaces across the country.

This transformation must include the adoption of modern technological solutions capable of accurately tracking the use of copyrighted musical works in real time.

A good example of the type of technology that could inspire such innovation is the widely used music identification application, Shazam.

Shazam allows users to identify songs playing around them simply by activating the app and letting it listen for a few seconds. Within moments, the application can recognise the music and display the artist and track information.

Technology like this demonstrates how audio recognition systems can detect and identify music instantly, regardless of where it is played.

If similar technology were adapted for Nigeria’s royalty collection system, it could revolutionise how CMOs monitor music usage.

A New Model For Tacking Music Usage

Nigerian CMOs should invest heavily in building technologies capable of automatically tracking when songs are played in public spaces.

Such technologies could take several forms:

• Digital chips or audio recognition devices installed in pubs, lounges, and nightclubs
• Monitoring software integrated into radio and television broadcast systems
• Tracking tools embedded in DJ equipment or entertainment venues

These devices would be able to identify when a song is played beyond the fair-use threshold of approximately 30 seconds, automatically logging the usage.

Once the music is detected and recorded, the system could then calculate the appropriate royalty charges payable by the establishment based on the level and frequency of consumption.

This would create a transparent and data-driven royalty system, eliminating the uncertainty and guesswork that currently characterise the industry.

Why Legislation Will Be Necessary

Technology alone will not be sufficient to transform Nigeria’s royalty system.

For such a model to work effectively, policy reforms and legislative backing will also be required.

Nigeria already has copyright laws designed to protect creative works. However, these laws may need to be amended to accommodate modern technological monitoring systems.

New regulations could make it mandatory for establishments that rely heavily on copyrighted content, such as pubs, restaurants, clubs, radio stations, and event venues, to install approved monitoring devices or software.

This would ensure that copyrighted works are tracked accurately and that creators are properly compensated whenever their music is commercially used.

The Bigger Picture: Fair Compensation For Creators

When musicians are adequately compensated for their work, the entire creative ecosystem benefits. Even government can tax the income.

Fair royalty systems encourage artists to continue producing quality music, attract investment into the industry, and strengthen Nigeria’s position as a global music powerhouse.

However, this can only happen if the institutions responsible for protecting artists evolve alongside the industry itself.

Conclusion

It is important to note that the Nigerian music industry is no longer a small domestic market, but now a global cultural force.

While the music has modernised, the systems managing artists’ rights have not kept pace.

For Nigerian musicians to truly benefit from the international success of their art, Collective Management Organisations must abandon outdated analogue systems and embrace technology-driven royalty tracking solutions.

By adopting innovative tools, modernising their operational structures, and working with lawmakers to strengthen copyright enforcement, CMOs can finally fulfil their mandate of ensuring that creators receive the full value of their work.

About the Author

SOMADINA EUGENE OKORIE ESQ. is a WIPO-certified advocate, intellectual property/business solicitor, and researcher based in Lagos. His work explores how legal innovation can drive inclusive economic growth and cultural preservation in Africa.