Ghanaian highlife and Afrobeats star Kuami Eugene has sparked debate among fans and industry watchers after making a strong statement about maintaining ownership of his music catalogue.
In a video shared on X, the award-winning musician firmly dismissed the idea of selling his catalogue—a move that has become increasingly popular among global artists.
“I think you sell your songs when they are no longer of value to you. My songs are still banging, so what kind of hunger would make me sell my catalogue?”
Kuami Eugene
The “Angela” and “Wish Me Luck” hitmaker stressed that his music remains commercially vibrant, insisting that selling off his catalogue is unnecessary.
His comments arrive at a time when several international acts, particularly in the West, have sold their catalogues for massive pay-outs, often citing financial stability or waning relevance.
Kuami Eugene, however, positioned himself as an artist who believes in the lasting appeal of his creations and their future earning potential.
His remarks come against the backdrop of reports that some of Ghana’s leading Afrobeats and Dancehall artists have signed deals with Waka Music Limited, a company that manages and distributes catalogues to extend global reach.
These partnerships are viewed as strategic moves to monetise extensive back catalogues internationally.
Kuami Eugene’s question—“What kind of hunger would make me sell my catalogue?”—is more than rhetorical. It is a proud declaration of artistic self-awareness, financial foresight, and emotional depth.
It persuades individuals that certain sacrifices are unacceptable, no matter the severity of one’s circumstances. It reminds individuals that hunger, in its noblest form, should push one to protect creative autonomy—not sell it.
To “sell a catalogue” is to relinquish ownership and control over one’s creative output—diminishing both legacy and future earnings. For an artist like Kuami Eugene, who intentionally protects his publishing rights (like with “Monica”) and advocates against exploitation in the Ghanaian industry, this would go against everything he stands for.
His rhetorical question highlights that no amount of financial desperation—or “hunger”—is worth surrendering his legacy. His catalogue is both personal property and generational wealth–a testament to years of artistic labour and strategic foresight.
Leasing a catalogue means the owner temporarily grants another entity the rights to use the music—typically for commercial purposes—in exchange for financial compensation.
Kuami Eugene on Writing Songs For Artists
The award-winning singer and songwriter known for his versatility in contemporary highlife, recently shared insights into his songwriting process for other artists.
Speaking in an interview, Kuami explained that one of the most important factors he considers is the artist’s ability to promote the song. “I don’t want to write a song that someone will just waste. The artist has to be ready to push it,” he said.
He also admitted that fear guides his decisions.
“I fear that after putting in my all, writing or producing a song, no one will pay attention to it. That’s why whenever I write for someone, they have to tick certain boxes.”
Kuami Eugene
Kuami emphasised that some new artists struggle to meet his standards because, while they may have money to pay for the song itself, they often don’t have funds to promote it. “If you don’t have a plan to promote the song, I can’t write it for you,” he explained.
His advice to emerging artists is straightforward: “Come prepared. If you want me to write songs for you, make sure you have the resources and strategy to give it the attention it deserves.”
Over the years, Kuami Eugene has written songs for several notable artists, including Joyce Blessing, Empress Gifty, and recently Opiesie Esther, demonstrating his influence and versatility as a songwriter and producer.
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