Martin Nkoyoyo
What was the state of UPRS when the new Board took over in September, and what immediate actions did you prioritise?
When we assumed office in mid-September, the organisation was struggling with weak governance, loss of member trust, lack of financial transparency, and poor systems for royalty collection and distribution. The Board immediately focused on restoring order by strengthening governance, rebuilding trust through member engagement and financial discipline, and encouraging music users to comply voluntarily instead of relying on enforcement. A key achievement was reviving the dormant royalties account, which had not been active for two years. Shs60m was deposited in just two months, signaling progress and a renewed commitment to accountability.
What does it mean for UPRS to be a company limited by guarantee? How does that structure benefit its members?
It means UPRS is collectively owned by its members, with each member holding equal stake. This structure empowers members with ultimate authority over how the organisation is governed and managed. It fosters stronger accountability, as the Board and leadership act on behalf of the members, ensuring their voices are central to all decisions. Most importantly, it guarantees that UPRS remains focused on serving the interests of the creative community rather than private or individual gains.
What governance challenges were you determined to fix, and how far have you gone in achieving that?
The Board identified weak governance as a major challenge at UPRS, one that had contributed to inefficiencies, loss of trust, and financial leakages. Key governance gaps included the absence of regular royalty allocations, limited engagement with members, and poor systems for both financial and operational transparency. Since taking office, the Board has made concrete progress in addressing these issues. Notably, monthly allocations to the royalties account have resumed after a two-year gap.
Financial discipline has also been strengthened through new reforms aimed at safeguarding members’ funds. Engagement with members has improved, as seen through active consultations with stakeholders such as audio producers, which have resulted in agreements on using split sheets to ensure fair royalty distribution. Additionally, the Board is building partnerships with key institutions such as URSB and UCC to boost capacity and enhance regulatory compliance.
You mentioned that UPRS has resumed putting money on the royalties account for the first time in two years. What made that possible?
The new Board was deliberate in enforcing financial discipline and strengtheing governance at UPRS. From the moment we assumed office, we prioritised restoring this account as a key step in rebuilding trust with members. We took decisive action to ensure that funds are now being allocated monthly, signaling a renewed commitment to transparency, accountability, and putting members’ interests first. This move is part of a broader reform agenda aimed at transforming UPRS into a more responsive and well-governed institution.
How much has been paid out so far, and how do you ensure fairness and accuracy in that distribution?
We have set aside Shs60m for members over the past two months, marking a significant step in restoring royalty distributions. To ensure fairness and accuracy, the Board is actively promoting the use of split sheets and formal agreements among creators during collaborations. This helps to clearly identify each rights holder and ensures that everyone receives their rightful share. Additionally, UPRS is making strategic investments in automation and real-time broadcast monitoring, which will enhance the accuracy of performance tracking and royalty calculations. Soon, members will also be able to access this data directly through the UPRS mobile app, giving them greater transparency and control over their earnings.
What measures are in place to sustain regular payments to members going forward?
UPRS has implemented several forward-looking measures. Monthly allocations to the royalties account have resumed, laying a consistent foundation for planning and disbursement. The society is also investing in automation and a mobile app that will allow for real-time monitoring, significantly improving the efficiency and accuracy of royalty tracking and distribution. To boost revenue generation, UPRS is in the process of acquiring vehicles to strengthen its licensing operations, an initiative projected to raise collections by about 50 percent.
Additionally, strategic partnerships are being formed with key institutions such as URSB, PSFU, and UCC to reinforce the collective management framework. Looking ahead, the Board is also considering innovative proposals such as introducing membership subscriptions and creating a Special Purpose Vehicle (SPV) to enhance monetisation and streamline distribution. These efforts aim to build a system that is not only fair and transparent but also financially resilient for the long term.
How are you ensuring voluntary compliance from users of music such as broadcasters and event organisers, without enforcement pressure?
UPRS is moving away from a force-based enforcement model and embracing a dialogue-first, relationship-driven strategy to ensure voluntary compliance from music users such as broadcasters and event organisers. The organisation has actively engaged key stakeholder groups – including cover band managers, broadcasters, hoteliers, and bar owners – in discussions to build mutual understanding and promote licensing as a collaborative investment in the creative industry. UPRS is also rolling out automated systems for real-time music usage monitoring, which will provide transparent and credible data to strengthen the case for fair compensation. Internally, trust among members is being rebuilt, while externally, UPRS is cultivating a culture of transparency and service that encourages cooperation without coercion.
You have hinted at automation, including a mobile app and real-time tracking of airplay. When can members expect this to go live?
UPRS has begun rolling out a long-awaited automation process aimed at improving royalty tracking and transparency. A key part of this reform is the development of a mobile app that will give members real-time access to data on the performance of their music, at no extra cost. The app is part of a broader system designed in-house to finally tackle broadcast monitoring challenges. While an exact launch date has not been provided, the Board has confirmed that the rollout is actively underway and expected within the current operational year, signaling that members can look forward to accessing these digital tools very soon.
How will this new technology change the way UPRS manages licensing and royalty collection?
The introduction of real-time monitoring and automation marks a transformational shift in how UPRS manages licensing and royalty collection. This new technology will bring a level of transparency that has long been lacking, allowing members to access real-time information about when and where their music is played - effectively ending the mistrust caused by opaque monitoring practices. Moving beyond reliance on Wipo-Connect’s sampling method, the system will use live performance tracking to ensure more accurate, fair, and data-driven royalty payouts.
It also equips UPRS with the ability to negotiate smarter and more credible licensing deals with music users such as broadcasters, bars, hotels, and event organisers, backed by actual usage statistics, which is expected to significantly improve collection rates. For members, this means greater empowerment – they will be able to make informed business and promotional decisions based on clear airplay data, and access personalised reports and services, including quicker dispute resolution. Internally, the automation will streamline processes, reduce administrative workload, and minimise errors in royalty processing. In essence, this technology is not just an upgrade - it lays the foundation for a more transparent, efficient, and member-focused UPRS.
You mentioned plans to establish a Benevolent Fund. What will it cover and how will it be financed?
The Benevolent Fund was proposed with the aim of providing essential support to members during difficult personal circumstances such as illness, emergencies, or other unforeseen hardships - areas previously neglected due to financial limitations. The Fund will offer emergency financial aid for members facing health or family crises, welfare support during times of critical need, and assistance in moments of loss, including funeral contributions for deceased members. To ensure its sustainability, the Fund will be financed through a proposed membership registration or subscription fee under the new membership structure. This approach is designed to create a reliable, member-owned safety net that grows with increased participation, allowing UPRS to support its members not just in times of success, but also when they need help the most.
How will initiatives such as issuing IPI and ISWC codes empower members internationally?
The introduction of their issuance is a game-changer for members seeking international recognition and earnings. IPI codes uniquely identify the creator - whether a composer, author, or publisher - within global rights databases, while ISWC codes are used to track individual musical works across international platforms.
Together, these codes ensure that members’ identities and creative works are visible and properly registered in global royalty tracking systems. This allows foreign CMOs to accurately monitor usage, report it, and remit royalties back to the rightful owners when their music is used abroad. Beyond royalty access, the codes elevate professional legitimacy, giving members the credibility they need to engage confidently with international distributors, labels, and music platforms. Essentially, these tools make it possible for members' rights and revenues to travel with their music, unlocking global opportunities and ensuring creators are fairly compensated no matter where their work is played.
Tell us more about the Special Purpose Vehicle (SPV). How will it help members commercialise their music?
It is a key innovation designed to support members in promoting, monetising, and distributing their music without UPRS directly engaging in commercial services. Since UPRS, as a CMO, cannot handle direct commercial activities, the SPV operates as a separate entity that fills this gap. The SPV will assist members in earning revenue beyond licensing through opportunities such as streaming, downloads, and sync deals. It will also offer promotional support to boost the visibility of Ugandan music both locally and globally, and help members access distribution channels to reach wider audiences. The benefits to members include access to professional services, such as marketing, contract negotiation, and distribution networks, all designed to help navigate the increasingly complex business side of music. Ultimately, the SPV empowers members to become entrepreneurs, offering them the tools to maximise their earnings and ensure their music thrives in the global digital marketplace.
