Music Tracking Devices Offer Hope for Artists but Now Face the Practical Test

Uganda’s rollout of the Nyange music tracking device has been positioned as a fix to one of the industry’s longest-running problems, how to accurately track music usage and pay artists fairly.

But while the technology behind it is proven globally, its effectiveness in Uganda will depend on how well it is implemented and adopted across venues.

At its core, the system mirrors tools used internationally, similar to apps like Shazam. A small device installed near a venue’s sound system “listens” to songs being played, creates a digital fingerprint, and matches it against a database of registered music. Each track is logged with details such as artist, title and play duration, then uploaded in real time to a central system for royalty calculation.

In an ideal setup, this would solve a major gap in Uganda’s music economy. Instead of relying on rough estimates or manual reporting, artists would be paid based on actual play counts. A local song repeatedly played in bars in Kampala or Gulu would generate direct earnings for its creator, rather than being lost in a general pool.

The system also removes the need for DJs and venue owners to submit playlists, a process that has historically been inconsistent. Globally, companies such as DJ Monitor, BMAT and, ACRCloud have built similar systems that allow rights organisations to distribute royalties with greater precision.

However, translating that model into Uganda presents several challenges.

One immediate issue is infrastructure. These devices depend on stable internet connections to upload data in real time. In areas where connectivity is unreliable, especially outside major urban centres, gaps in data transmission could lead to incomplete tracking and disputes over payments.

Cost is another factor. While the devices may be installed under a national rollout, businesses still face licence fees under the new copyright law. For smaller bars and restaurants operating on tight margins, the added financial burden could lead to resistance, underreporting or attempts to bypass the system altogether.

There is also the question of database accuracy. For the system to work, songs must be properly registered and fingerprinted. Uganda’s music industry, which includes a large informal segment, may struggle with incomplete catalogues. Artists who fail to register their work correctly risk being left out of the system, even if their music is widely played.

Trust in the collection and distribution process remains another concern. Collective Management Organisations are expected to handle payments, but they have historically faced criticism from artists over transparency and delays. Even with accurate tracking, confidence in the system will depend on whether artists actually receive timely and verifiable payouts.

For venue owners, the technology introduces both risk and opportunity. On one hand, it enforces compliance and increases operational costs. On the other, it could offer insights into customer behaviour, showing which songs or genres keep crowds engaged, a tool that could shape playlists and improve business performance.

Privacy concerns may also arise, although the technology is designed to analyse sound patterns rather than record conversations. Clear communication around this will be key to public acceptance.

Ultimately, the Nyange system represents a shift from estimation to data-driven accountability in Uganda’s music industry. If implemented effectively, it could reshape how artists earn from public performances. If not, it risks becoming another well-intentioned reform that struggles under the weight of practical realities.