Local musicians raise questions about Nascam payments
Questions have emerged among local musicians over royalty payments, as well as alleged malpractices and a lack of consistent payment structures at the Namibian Society of Composers and Authors of Music (Nascam).
“It is starting to look to me like a money-making scheme presented as music licences and royalties for artists – they say that money is for artists, but it is not for artists, it is for them,” musician Riaan Smit alleged recently.
He added that he has already paid N$30 000 to Nascam agents, who received payments for music licences and Nascam letters for work permits for foreign musicians via eWallet transactions or in cash, without issuing records or proof of payment.
Local media reported that Nascam’s then chief executive, Albert Nicanor, told an open day in Rundu that Nascam collected more than N$13.33 million in royalty payments in the 2023–24 financial year, of which Nascam said N$2.53 million was paid to artists. This amounts to around 19% of Nascam’s total income being distributed to artists. Nascam also stated that a further amount, equivalent to 10% of the payments to artists, is set aside for social and cultural development.
“Internationally, performing rights organisations typically distribute 70% to 85% of collections to rights holders and retain 15% to 30% for operating costs,” Smit explained.
“On the most basic level, an agency for collecting royalties should exist to pay artists for the use of their work – not primarily to fund itself," he added.
"When the vast majority of the money collected does not reach the rights holders, that purpose must be questioned,” he said.
Smit also said that, despite his music being regularly played on local radio stations, he believes the amounts Nascam pays him do not align with those reported by the South African Music Rights Organisation (Samro), despite significantly less airplay there.
“In Namibia, Nascam indicated that my earnings over a three-year period amounted to N$14, which is below their threshold for payment. This is despite 105 original songs and high play counts on major national radio stations. These are the same works, under the same copyright, with verifiable airtime,” Smit noted.
He explained that he has also had to pay copyright levies himself to perform his own music, of which he holds the copyright, during live shows. “I am not a member of Nascam. I am the copyright holder of my songs, registered internationally. Yet I have personally – and venues on my behalf – paid licensing fees to Nascam so that I can perform my own music in Namibia. The money never reaches me,” he said.
“Nascam informed me that licensing fees collected for my music were paid to Samro, which would then transfer them to the music rights company, BMI, where my works are registered," he claimed.
"However, when I enquired with Samro, they confirmed that no royalties from Nascam had been received on my behalf. This leaves a gap that has never been clearly explained."
'What good is it?'
Another well-known Windhoek musician, active for almost a decade, said he received a payment from Nascam for the first time this year after suspending his membership.
“I think I was completely off their radar until I moved, so now I think I am under their attention, but I want to move to another international organisation. What good is it that I am with Nascam and I don’t get paid?" the musician, who preferred to speak anonymously, asked.
The singer and songwriter, who has undertaken several international tours over the years, said he was informed by Nascam that he was entitled to a payment he had not claimed. He explained that frequent regulatory changes make it even harder for artists to receive what they are owed.
“Anything I say about Nascam and their process is subject to possible changes within the next 15 minutes – I could never keep up,” said the musician, who is also regularly played on Namibian radio stations.
The musician claimed that Nascam placed the blame for unpaid royalties on local radio stations, arguing that their paperwork had not been submitted and therefore the association could not pay royalties for the use of his music on air. He said he was able to determine that this was not true.
Nascam responds
Nascam’s interim chief executive, Ferdinand Gertze, confirmed that the association’s long-term plan is to implement best international practices but explained that high operating costs and low income currently hinder this task.
“For example, of the 20 radio stations licensed by Cran [the Communications Regulatory Authority of Namibia], only seven are registered with us. We also have to make people aware that they need a Nascam licence to play music in public, which means we have to physically visit them, and that is costly,” he said.
Gertze explained that Nascam already has an action plan to align with international standards. “I have been tasked with increasing our income while keeping operating costs the same, so we are targeting the easy wins (low-hanging fruits) and hoping to generate more revenue, which means we can pay a larger share of our income to artists.”
“It is starting to look to me like a money-making scheme presented as music licences and royalties for artists – they say that money is for artists, but it is not for artists, it is for them,” musician Riaan Smit alleged recently.
He added that he has already paid N$30 000 to Nascam agents, who received payments for music licences and Nascam letters for work permits for foreign musicians via eWallet transactions or in cash, without issuing records or proof of payment.
Local media reported that Nascam’s then chief executive, Albert Nicanor, told an open day in Rundu that Nascam collected more than N$13.33 million in royalty payments in the 2023–24 financial year, of which Nascam said N$2.53 million was paid to artists. This amounts to around 19% of Nascam’s total income being distributed to artists. Nascam also stated that a further amount, equivalent to 10% of the payments to artists, is set aside for social and cultural development.
“Internationally, performing rights organisations typically distribute 70% to 85% of collections to rights holders and retain 15% to 30% for operating costs,” Smit explained.
“On the most basic level, an agency for collecting royalties should exist to pay artists for the use of their work – not primarily to fund itself," he added.
"When the vast majority of the money collected does not reach the rights holders, that purpose must be questioned,” he said.
Smit also said that, despite his music being regularly played on local radio stations, he believes the amounts Nascam pays him do not align with those reported by the South African Music Rights Organisation (Samro), despite significantly less airplay there.
“In Namibia, Nascam indicated that my earnings over a three-year period amounted to N$14, which is below their threshold for payment. This is despite 105 original songs and high play counts on major national radio stations. These are the same works, under the same copyright, with verifiable airtime,” Smit noted.
He explained that he has also had to pay copyright levies himself to perform his own music, of which he holds the copyright, during live shows. “I am not a member of Nascam. I am the copyright holder of my songs, registered internationally. Yet I have personally – and venues on my behalf – paid licensing fees to Nascam so that I can perform my own music in Namibia. The money never reaches me,” he said.
“Nascam informed me that licensing fees collected for my music were paid to Samro, which would then transfer them to the music rights company, BMI, where my works are registered," he claimed.
"However, when I enquired with Samro, they confirmed that no royalties from Nascam had been received on my behalf. This leaves a gap that has never been clearly explained."
'What good is it?'
Another well-known Windhoek musician, active for almost a decade, said he received a payment from Nascam for the first time this year after suspending his membership.
“I think I was completely off their radar until I moved, so now I think I am under their attention, but I want to move to another international organisation. What good is it that I am with Nascam and I don’t get paid?" the musician, who preferred to speak anonymously, asked.
The singer and songwriter, who has undertaken several international tours over the years, said he was informed by Nascam that he was entitled to a payment he had not claimed. He explained that frequent regulatory changes make it even harder for artists to receive what they are owed.
“Anything I say about Nascam and their process is subject to possible changes within the next 15 minutes – I could never keep up,” said the musician, who is also regularly played on Namibian radio stations.
The musician claimed that Nascam placed the blame for unpaid royalties on local radio stations, arguing that their paperwork had not been submitted and therefore the association could not pay royalties for the use of his music on air. He said he was able to determine that this was not true.
Nascam responds
Nascam’s interim chief executive, Ferdinand Gertze, confirmed that the association’s long-term plan is to implement best international practices but explained that high operating costs and low income currently hinder this task.
“For example, of the 20 radio stations licensed by Cran [the Communications Regulatory Authority of Namibia], only seven are registered with us. We also have to make people aware that they need a Nascam licence to play music in public, which means we have to physically visit them, and that is costly,” he said.
Gertze explained that Nascam already has an action plan to align with international standards. “I have been tasked with increasing our income while keeping operating costs the same, so we are targeting the easy wins (low-hanging fruits) and hoping to generate more revenue, which means we can pay a larger share of our income to artists.”
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