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At The Hangout, UK collective society meets Nigerian music stakeholders

IT was a gathering of music industry stakeholders that comprised of artistes, songwriters, producers, label owners, talent managers, and the media among others recently, when veteran industry practitioner and Now Muzik CEO, Efe Omorogbe hosted the Performing Rights Society (PRS for Music) United Kingdom, represented by its President, Michelle Escoffery, and Relationship Manager, Jacqueline Pelham-Leigh at the CCX Lounge, V/Island, Lagos.

Tagged ‘The Hangout’, the PRS team were in Nigeria, alongside award-winning UK-based producer, Osiki Ojo aka Ozzie, to support a songwriter Bootcamp, as well as connect with creators and key stakeholders to unlock opportunities for mutual benefit.

Discussions centered on royalty collection with salient contributions from stakeholders in the music, legal, media industry respectively, such as Edi Lawani, Charles Okogone, Aibee Abidoye, AQ, Masterkraft, M-Trill, Justin Ige, Daniel Anaza, Tony ‘Don T’ Anifite, Helen Emoh Abutu, Joey Akan, Eleesha, GYC, Tony Green, amongst other guests.

With 160,000 members, 30million works and £677million to rights holders to justify its essence of existence, PRS for Music, formerly MCPS-PRS Alliance Limited, is a British music copyright collective made up of two collection societies – the Mechanical-Copyright Protection Society (MCPS) and the Performing Right Society (PRS).

Speaking at the event, Escoffery said the PRS UK team was in the country to sensitive Nigerian acts and creatives on the need to belong to the rights management society so they can have access to their money lying fallow all over the world.

“Music wouldn’t exist without the work of songwriters, composers and publishers. As a body we represent them and ensure that they are rewarded for their creations. We ensure that royalties are paid to our members for the use of the works while we also protect the future of music through partnerships, technology and influencing policies. 

“We work closely with our network of international societies to capture information on the use of members’ music outside of the UK. This works perfectly when as a member of PRS, you are able to tell us about any use of your music overseas. You will be paid. However, you could be missing royalty payments in your distribution if your work hasn’t been fully registered.”

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