‘My music is free for all’ - Azawi rejects royalties

• Azawi declared that her music can be played for free, rejecting royalties.

• Her stance contrasts with the ongoing rollout of the Nyange tracking device to enforce payments.

• The move has drawn mixed reactions from fans and industry players.

Ugandan singer Priscilla Zawedde, known professionally as Azawi, has taken a shocking stance on the recently passed copyright law, announcing that she does not expect royalties from her music as provided for in the law. 

The songstress stunned fans on Thursday morning, declaring that her music can be played freely by all.

She distanced herself from the ongoing push for stricter royalty enforcement

In a brief but striking social media post on Thursday morning, the Swangz Avenue artist wrote: “Guys, me as me, I authorise you to play my music for free.”

Azawi further revealed that she will talk to her legal team to formalise her position

Her remarks come just hours  after Uganda National Musicians Federation (UNMF), led by Eddy Kenzo, announced that the government has begun rolling out a new digital music tracking system aimed at ensuring artists are paid whenever their music is played in public spaces.

The newly introduced device, known as Nyange, is being installed in radio stations, bars, restaurants and other commercial venues across the country. 

It is designed to automatically detect songs being played and transmit data to a central system that tracks usage and facilitates royalty collection and distribution.

Kenzo recently said the system would help resolve long-standing complaints from musicians who say they have not been fairly compensated for the public use of their work.

Azawi’s position, however, appears to diverge from this industry-wide push. By openly allowing free use of her music, she has effectively waived her right to earn royalties from such plays, at least in principle.

Her comments have already begun to draw reactions, with some fans praising her generosity and others questioning the implications for artists’ earnings and the broader music ecosystem.

“Very good. But go to court and give us a legal authorization to do it,” wrote one Julius Mugweri.

To this, Azawi responded, “I don’t think that is necessary, but let me talk to my team.”

Music stakeholders have long argued that enforcing royalties is critical to sustaining the industry, especially as digital tools like Nyange promise more transparency and accountability.