The royalty scene in Kenya has been plagued by significant controversy. Kenya’s Music Copyright Society of Kenya (MCSK) has repeatedly come under scrutiny for the low payouts received by artists. Over the years, numerous rightsholders have publicly voiced their frustration with how royalties are managed in the country. Artists argue that while Collective Management Organisations (CMOs) continue to raise tariffs and licensing fees charged to broadcasters, streaming platforms, and other users of copyrighted content, the actual royalties reaching creators remain disproportionately low. Many rightsholders claim that the funds collected are not being distributed fairly or transparently, raising concerns about governance, accountability, and the operational efficiency of these CMOs. 

Furthermore, the Performers and Audio-Visual Rights Society of Kenya (PAVRISK) and the Kenya Association of Music Producers (KAMP) issued a notice of proposed consolidated tariffs for music and audio-visual works for the licensing period 2025-2028, inviting comments from users of copyrighted works, business enterprises, business management organisations, broadcasters, related stakeholders, and the general public.

Having been licensed by the Kenya Copyright Board (KECOBO) as CMOs, PAVRISK and KAMP are authorised to administer, manage, and enforce copyright and related rights in music and audiovisual works within Kenya. Their mandate includes ensuring that at least 70 per cent of collected revenues are distributed to rightsholders, a commitment recently reaffirmed by President William Ruto during the 97th Kenya Music Festival State Concert at Sagana State Lodge, Nyeri County. 

They then invited the public to deliberate on the proposed tariffs on Wednesday, August 27, 2025, at The National Museums of Kenya, Louis Leakey Auditorium, Nairobi County, as well as on September 12, 2025, at Maktaba Kuu Building, Kenya National Library Services.

KAMP CEO, Maurice Okoth, explained that the proposed tariff changes were benchmarked against international practices and grounded in the principle of economic value. This principle, which guides tariff-setting under copyright law, states that users whose businesses benefit significantly from music, such as clubs, broadcasters, and streaming platforms, should pay higher fees. In contrast, those for whom music is only a minor or incidental element, like small shops or offices, are charged lower rates. This approach ensures that remuneration to rightsholders is fair, proportionate, and reflects the actual economic contribution of music to different types of enterprises.

A Summary of the Proposed Tariffs 

The proposed tariff adjustments comprehensively cover various categories across different sectors, indicating an overall increase and changes to licensing fees and revenue contributions.

Schools at different levels will be charged fees ranging from as low as KSh 12,000 for private kindergartens and primary schools to KSh 25,000 for international or large private institutions. Educational institutions, private colleges, and TVETs will be charged KSh 36,000, while universities will be charged KSh 75,000, compared with their public counterparts, which will be charged KSh 20,000 and KSh 50,000, respectively. Railway stations will incur charges of KSh 100,000. Bus stations will be charged KSh 50,000, and international airports will be charged KSh 500,000 if located in Nairobi and KSh 400,000 if situated in other cities. 

New media platforms, such as digital and internet-based content services, are subject to a fee equal to 15% of their gross revenues, with a minimum fee of KSh 500,000. Retail stores and shops face fees ranging from KSh 110,000 to KSh 400,000, depending on size, with similar fees applying to discotheques, nightclubs, and casinos; these vary from around KSh. 80,000 for smaller establishments to Sh. 150,000 or higher, often combined with 5% of gross revenues.

Medical facilities will be charged a range of fees, from KSh 25,000 for clinics to KSh 1 million for Level 6 hospitals. Mobile DJs will be charged a flat rate of KSh 20,000 per event and an annual rate of KSh 30,000. Motor vehicles, including commercial and passenger trains, are charged based on seating capacity.

Amusement parks and arcades will be charged KSh 40,000 in cities and KSh 25,000 in other areas. Cinema theatres and video showings will be expected to pay an annual fee of KSh 100,000, with daily charges of KSh 8,000 for operations in cities and KSh 4,000 in other regions.

Finally, fees for political campaign activities are set according to the position, ranging from KSh 50,000 for Members of the National Assembly to KSh 150,000 for Senators and up to KSh 500,000 for presidential candidates, reflecting the different levels of prominence and reach of these campaigns. These fees are to be reviewed annually.

Conclusion 

Allegations of corruption, opaque accounting practices, and licence disputes have further increased mistrust, leaving artists feeling marginalised and questioning whether the current royalty system truly benefits them. As the cost of licensing rises, creators argue that they are effectively bearing the burden without receiving a fair share of the revenue their work generates.

While the public forum held on August 27, 2025, was intended to build consensus, it became quite heated as stakeholders voiced strong objections to the proposed fees. Some of the stakeholders present even threatened to stop playing music at their premises if they were subjected to such punitive rates. As the deliberations continue, it will be interesting to see how the respective CMOs and regulators handle this moving forward, especially with right holders and users calling for accountability.