Acting Chief Digital Officer, Bless Sefenu Agordoh, said that the conference was designed to unite artistes, producers, managers, and rights organisations to explore how MTN’s digital platforms could unlock new revenue streams. He noted that while global platforms like Spotify, Boomplay and YouTube had significantly expanded audience reach, many Ghanaian artistes still struggled to translate that visibility into consistent income.

Citing industry data, he explained that earning about $1,000 could require up to one million streams on some platforms, a threshold he described as difficult for emerging artistes. In comparison, he said the same amount could be generated through approximately 200,000 downloads on MTN’s caller ring-back tone (CRBT) service, with the added benefit of recurring monthly income as long as subscriptions remained active. He emphasized that MTN was positioning itself as a digital enabler, not just a telecom provider, and was committed to supporting artistes through platforms like Caller Tunes, MTN Radio, and partnerships that prioritize local content.

Mr. Agordoh further encouraged artistes to actively onboard their music onto MTN platforms, stressing that participation remained below potential due to misconceptions about revenue sharing and limited awareness. He assured stakeholders that MTN was working to improve transparency by giving artistes clearer visibility into how their music performed and earned, adding that the company aimed to double the number of Ghanaian artistes using its platforms.

Gospel artiste and MTN representative in charge of E-Verticals, Nsroma Amoateng, urged musicians to take advantage of the digital opportunities available. She emphasized that while international platforms are important for global exposure, they do not always guarantee financial returns. Sharing her personal experience, she revealed that after spending about $500 to promote a song on YouTube and gaining over 300,000 views, she earned little to no revenue.

By contrast, she explained that investing the same amount into CRBT promotion could yield up to 40,000 downloads and generate roughly GHS2,200 in monthly income. She noted that beyond revenue, CRBT also drives organic promotion, as callers hear the music repeatedly, increasing its reach. She encouraged artistes to mobilize their fan bases, stating that those with strong followings could achieve significant downloads without heavy promotional spending.

“There's money on the table,” she emphasized, urging artistes to stop overlooking CRBT and instead integrate it into their overall music distribution strategy. She added that even established artistes could treat CRBT earnings as a long-term financial stream, likening it to a pension fund.

Former CEO of 3Music Networks and Ghana’s Ambassador-designate to Nigeria, Baba Sadiq Abdulai Abu, highlighted the financial realities of the industry, stressing that success now required data, strategy, and investment. He urged artistes to see themselves as content creators, consistently building and engaging audiences across platforms. He also advised caution when signing record deals and emphasized the need for visibility, noting that traction often attracts investment and opportunities.

During the panel discussion themed “From Talent to Wealth: Monetizing Music Across MTN and the Digital Music Economy,” artiste and CEO of Black Avenue Music, D-Black stressed the importance of education, transparency, and structure. He called for improved accountability in royalty systems and encouraged artistes to build strong teams, including legal and media professionals, to operate as sustainable businesses.

President of the Musicians Union of Ghana, Bessa Simons, urged unity among musicians and encouraged membership in the union to access legal support, welfare services, and a newly introduced pension scheme. He noted that while digital platforms had increased exposure, diversified income streams like CRBT were essential for long-term sustainability.

Musician and founder of GHMusic Publishing, Diana Hopeson, also emphasized the importance of proper music registration and publishing, warning that artistes risked losing royalties if their works were not well documented. She encouraged musicians to embrace publishing structures and leverage platforms like CRBT to maximize earnings.