Akosua Agyapong Demands Accountability Over Alleged Royalty Mismanagement at GHAMRO

Veteran highlife musician Akosua Agyapong has launched a scathing critique against the Ghana Music Rights Organisation (GHAMRO) and former MUSIGA President Bice Osei Kuffour, popularly known as Obour. In a recent TikTok Live session held on February 1, 2026, the legendary singer raised serious allegations of financial mismanagement and the embezzlement of funds intended for Ghanaian artists. Her outcry highlights a long-standing frustration within the creative industry regarding the transparency of royalty distribution and the welfare of aging performers who often struggle to make ends meet despite their lifelong contributions to the nation's culture.

Agyapong’s accusations centered on the legality of GHAMRO’s current operations and the conduct of its leadership. She alleged that the organization has been collecting royalties without a valid operating license, a claim that calls into question the legitimacy of their current financial activities. Furthermore, she specifically named executives such as Captain Adjetey, accusing them of misappropriating funds and exhibiting evasive behavior when questioned about outstanding royalties. The singer recounted instances where her attempts to discuss these financial discrepancies were met with insults or total avoidance, suggesting a deep-seated culture of unaccountability within the regulatory body.

Beyond institutional failings, Agyapong directed sharp criticism toward former MUSIGA President Obour for his treatment of the industry's veterans. She claimed that during his tenure and at various public events, promised financial support for elderly musicians was never delivered, leaving many in a state of neglect. "Why should musicians die poor while others spend our money?" she questioned, emphasizing the disparity between the perceived mismanagement by executives and the destitution faced by the creators of the music. Her comments underscore a significant disconnect between administrative promises and the harsh economic reality on the ground for many veteran acts.

This latest outburst by Akosua Agyapong adds significant pressure on GHAMRO and the music industry's leadership to address systemic issues within the collective management system. As calls for accountability and structural reforms intensify, the industry faces a critical turning point in how it protects the intellectual property and financial security of its members. The resolution of these grievances will be vital in ensuring that future generations of Ghanaian musicians do not suffer the same fate as those currently struggling under the current royalty framework.