Dami Twitch Says Music Rights Deals Are Making Afrobeats Harder To Use In Nollywood Films

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The bond between Nollywood and Afrobeats, two of Nigeria’s biggest creative exports, is facing new pressures as filmmakers grapple with the realities of music ownership and licensing.

For years, popular Afrobeats tracks have helped shape the mood and identity of many Nigerian films, giving audiences memorable moments that blend music with storytelling. Today, however, securing those same songs has become a far more complicated process, especially for independent producers working with limited budgets.

Filmmaker and music video director Dami Twitch says the challenge stems from the increasing number of artists who have entered agreements that place control of their music rights in the hands of labels, publishers, or other stakeholders. As a result, personal relationships between filmmakers and musicians are no longer enough to guarantee access to a song.

“Even if the artist is my friend, they can’t give me permission to use their song freely because they have already entered a contract. That is a major challenge in the movie industry.

“The collaboration between Nollywood and Afrobeats is at a very weird place right now. A lot of producers can’t afford putting Afrobeats songs in their movies unless a big studio or investor supports them. Nigerian producers are mostly independent filmmakers so a lot of us won’t be able to afford it,” Dami Twitch said.

His remarks shed light on a growing concern within the movie industry, where producers are increasingly finding themselves priced out of deals involving some of the country's most sought-after music stars. While Afrobeats continues to expand its reach across global markets, the commercial value attached to hit records has also climbed significantly.

For many filmmakers, this creates a difficult balancing act. On one hand, they want music that resonates with audiences and reflects modern Nigerian culture. On the other hand, the financial demands involved in licensing those songs can consume a substantial portion of production budgets.

The situation is particularly challenging for independent producers, who make up a large share of Nigeria’s film industry. Unlike major studios with corporate backing, many of these creators depend on personal investments, private funding, or modest partnerships to complete their projects. Adding the cost of premium music licenses can place additional strain on already tight budgets.

As a result, some filmmakers are beginning to explore alternatives, including original soundtracks and collaborations with emerging artists who may offer more flexible licensing terms. Others are turning to lesser-known musicians whose work can still deliver the desired impact without the hefty costs attached to mainstream hits.

The changing landscape reflects the rapid professionalization of the Nigerian music business. As artists sign bigger deals and their catalogues become valuable commercial assets, decisions regarding the use of songs increasingly involve legal and financial considerations rather than informal agreements.

Although both industries continue to thrive individually, the ease with which they once worked together appears to be fading. Dami Twitch’s comments underscore the reality that as Afrobeats becomes more commercially valuable, Nollywood producers may have to rethink how they source music for future productions.

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