A calm explainer for venues, DJs & artists
Public performance in Nigeria: the simple idea
If music is played somewhere the public can hear it—clubs, lounges, hotels, bars, event centres, stores, gyms, restaurants, festivals, and many ticketed parties—it’s generally treated as a public performance (and/or communication to the public) under Nigeria’s copyright framework.
The principle is straightforward: when music helps create the experience that helps a business earn, creators should be paid for that use. This explainer is general information, not legal advice. For a specific situation, get proper legal guidance.
Why people are talking about this now (A3 – regulatory context)
In 2025, public messaging and press coverage around copyright compliance became more visible—especially for hospitality operators and DJs. A key theme across those advisories: playing music in commercial spaces isn’t the same as private listening, and businesses should treat public performance licensing as part of normal compliance.
That matters for two reasons:
- For venues and organisers: clearer compliance reduces risk (disputes, enforcement headaches, reputational damage).
- For creators: better compliance increases the chance that real-world plays can be reported, matched, and paid.
What “public performance royalties” usually pay for
Think of public performance royalties as payments linked to using songs in public-facing spaces. In practice, the “use” usually looks like:
- Recorded music in a venue: DJs, curated playlists, background music.
- Live performance of songs: bands, singers, instrumentalists.
- Music at ticketed events: promoters, event centres, festivals.
Because it’s not practical for every songwriter to invoice every club, these royalties are typically handled through collective management—so licences and distributions can be administered at scale.
The misconception that causes most confusion: “We pay for streaming, so we’re covered”
A streaming subscription (or a consumer music app) is often designed for personal/private listening. It does not automatically equal permission to use music as part of a commercial, public experience.
A good way to think about it: a streaming subscription is like buying ingredients; a public performance licence is the permit that allows you to serve the meal to customers.
What a public performance licence usually covers (and what it doesn’t)
Licences depend on the rights being managed and the specific terms, but for venues and DJs the common pattern is:
Usually covered
Permission to publicly perform music from a repertoire represented by the relevant collecting body (within the agreed scope).
Usually not covered by default
Syncing music to video (ads, branded content, trailers), copying/distributing recordings, or uses outside the agreed venue/event scope.
Why people sometimes hear “you may need more than one licence”
Different licences can apply because different categories of rights may be administered by different bodies or frameworks, depending on the use and the repertoire.
The professional move is simple: get the scope in writing, file it, and make sure whoever runs programming (manager, promoter, resident DJ) understands what it includes.
So who needs the licence?
Here’s the calm, practical view: if you benefit commercially from music being heard publicly, licensing is part of doing business. Responsibility can vary depending on the setup, so confirm the correct route for your specific use.
- Venues (clubs, lounges, hotels, bars, restaurants, retailers): you’re the place of use. If music is part of the customer experience, licensing is usually expected.
- Event organisers/promoters: if you stage events where music is central (DJ or live), licensing should be built into event compliance.
- DJs: ask whether the venue/event has the right permissions in place, keep proof, and don’t rely on assumptions.
- Live performers: you create the value on stage, but the venue/event still needs compliant permissions for the public use of songs.
If you’re a venue or organiser: a narrative checklist you can actually follow
Start with one question: “Where, when, and how is music used in our business?”
Walk through your typical week. Background playlists in the daytime. DJ nights on weekends. A live act once a month. TVs showing sports with music. Brand activations. Ticketed events.
Once you’ve mapped the uses, do three things:
- Confirm the correct licensing route for the rights you’re using (and whether one or more licences apply).
- Put the licence scope in writing (capacity, branches, event frequency, live vs recorded, etc.).
- Keep simple records (event dates, resident DJ, headline acts, and—where possible—setlists). Not perfect data—just consistent.
If you’re unsure what “good process” looks like, ask two questions before you pay anything: Who issued the licence, what repertoire/rights does it cover, and what period does it apply to?
If you’re a DJ: stay clean without killing the vibe
Your job is the room. But admin protects your reputation.
Before a major booking (festival, big club night), ask: “Is the venue/event licensed for public performance?”
If they say yes, request written confirmation (email/WhatsApp screenshot is still better than nothing).
Keep a basic set log for big nights (even “top tracks played” helps). It’s useful if disputes come up and it can support reporting where systems allow.
If you’re an artist: how you ensure you’re counted
Licensing is only half the story. The other half is matching—can the system identify your work and your share when it’s played?
Here’s what helps matching, in real-world terms:
- Register your songs properly in the relevant rights ecosystem (accurate songwriter/composer/publisher details).
- Lock splits early (split sheets reduce disputes and improve data quality).
- Keep credits consistent (titles, writer names, aliases) across releases and your team’s records.
- When you perform live, keep your own setlist history, and where possible ask organisers for performance reports.
Downtown note: this is exactly where publishing administration can add value—clean registrations, split verification, and catalogue hygiene so performance uses can be matched.
Two truths that can sit together
Venues and DJs deserve clear, predictable compliance. Creators deserve payment when their work is used. The path forward is professional: licences that match real use, and creator registrations that allow real matching.
Sources
- Nigeria Copyright Act, 2022 (official text): https://placng.org/i/wp-content/uploads/2023/04/Copyright-Act-2022.pdf
- NAN (News Agency of Nigeria) — NCC urging copyright works users to obtain performance licences (25 Sep 2025): https://nannews.ng/2025/09/25/ncc-urges-copyright-works-users-to-obtain-performance-licences/
- Voice of Nigeria — NCC cautions against music performance without authorization (5 Jun 2025): https://von.gov.ng/ncc-cautions-against-music-performance-without-authorization/
- The Nation — Copyright Commission warns DJs (13 Jun 2025): https://thenationonlineng.net/copyright-commission-warns-djs/
- Mondaq (legal analysis) — NCC issues Copyright (Collective Management Organisations) Regulations 2025 (1 Aug 2025): https://www.mondaq.com/nigeria/copyright/1659610/nigeria-copyright-commission-ncc-issues-new-copyright-collective-management-regulations-2025
