As Nollywood continues to expand its global reach, one challenge quietly frustrating filmmakers is the growing difficulty of securing popular Afrobeats songs for movie soundtracks.
Now, music video director-turned-filmmaker Dammy Twitch has shed light on why many producers are finding it increasingly difficult to use hit songs in their projects.
Speaking during a recent interview, the filmmaker explained that the issue goes beyond simply paying an artist for permission. According to him, the modern music business has become far more complicated, with many musicians no longer having full control over the rights to their own songs.
Dammy Twitch said publishing agreements, distribution contracts, and advance payment deals often place ownership and licensing decisions in the hands of record labels, publishers, or corporate partners rather than the artists themselves.
“I think because people have sold their song already,” he explained.
“So it gets to a point where I want to use this song for my film, for example, I can’t afford it because they’ve signed some distribution deal or some publishing deal with some company somewhere.”
The director noted that even personal relationships with artists do not necessarily make the process easier.
“You can’t even have a conversation, even if the person is my friend,” he said.
“They’ve literally gotten an advance for something.”
His comments highlight a growing challenge facing independent filmmakers, particularly in Nigeria’s rapidly evolving entertainment industry, where the popularity of Afrobeats has significantly increased the commercial value of music rights.
According to Dammy Twitch, the result is a widening gap between filmmakers and musicians, making collaborations more difficult than they once were.
“So that is a major factor in our problems because these artists don’t own the songs,” he said.
“So that collaboration for now is at a very weird place.”
The filmmaker added that major studios with larger budgets may still be able to secure licensing rights for high profile songs, but independent producers often struggle to meet the financial demands associated with those agreements.
“Not until if a big studio comes to support your film, you might be able to afford these songs,” he explained.
“But if you’re mostly independent filmmakers, the independent scene won’t let us afford this thing.”
The discussion comes at a pivotal moment in Dammy Twitch’s career.
After establishing himself as one of Nigeria’s most sought after music video directors, he is now stepping into feature filmmaking with his debut movie, Call of My Life.
Produced by Bluhouse Studios, the romantic comedy stars Uzoamaka Power, Zubby Michael, and Andrew Bunting in leading roles.
The film also features a strong supporting cast that includes Nkem Owoh, Patience Ozokwor, Beverly Osu, and Broda Shaggi.
The story follows Soluchi, a call centre agent struggling to move on after a failed relationship. Her life takes an unexpected turn when a routine call connects her with a stranger, leading to a relationship that forces her to confront old wounds and rediscover the possibility of love.
Adding another layer to the production, the film includes live musical performances from Johnny Drille and Cobhams Asuquo.
Explaining why he chose romance as the focus of his first feature film, Dammy Twitch said the decision reflected his personal experiences and worldview.
“My life has been shaped by love, so choosing a romance story for my first film was instinctive,” he said.
“As it’s my first step into feature filmmaking, I wanted it to reflect my heart. And my heart has always been rooted in love and happiness.”
Before making the leap into feature films, Dammy Twitch directed the acclaimed short drama I Hate It Here, starring Nse Ikpe-Etim, which explored the issue of domestic violence.
His latest comments offer a rare behind the scenes look at the complex business realities affecting both Nollywood and Afrobeats. As both industries continue gaining international recognition, the challenge of balancing creativity with licensing costs may become an even bigger issue for filmmakers hoping to bring Nigeria’s biggest songs to the big screen.