Appietus has raised questions about how money allegedly earned from the use of “Odo Nwom” in the Netflix film The Kitchen was distributed, as public concern grows over musician Barosky’s living conditions in the United Kingdom. Speaking during an online discussion with media personality Andy Dosty, Appietus alleged that Ofori Amponsah received money connected to the song’s placement but did not distribute an agreed portion to some of the musicians involved. However, no licensing contract, payment statement or royalty record has been made public to substantiate the allegation. GhanaPunch has also not independently established how much was paid, who received the payment or which contributors were contractually entitled to a share. At the time of publication, a detailed response from Ofori Amponsah addressing the specific payment allegations had not been identified. The claims must therefore be treated as allegations—not as established evidence of financial wrongdoing. Barosky appeals for assistance in Manchester Barosky, who is known for contributing to several Ghanaian highlife recordings, recently appealed for help after revealing that he had no settled accommodation in Manchester. During an interview with Okay FM presenter Nana Romeo, the musician said he had been sleeping on the streets and depending on other people for food and other basic necessities. He also expressed a desire to return to Ghana. A report by Joy Entertainment stated that Barosky had lost contact with members of his family and did not have relatives in the United Kingdom who could provide him with accommodation. The interview prompted offers of assistance and renewed discussion about how Ghana’s entertainment industry supports musicians after the most successful periods of their careers. It was against this background that Appietus discussed what he described as a previous disagreement involving money connected to “Odo Nwom.” What Appietus alleged Appietus alleged that he and Ofori Amponsah previously disagreed over income reportedly generated when “Odo Nwom” was licensed for The Kitchen. According to the producer’s account, he expected to receive a producer’s percentage. He further claimed that he was told Kofi Nti and Barosky would also receive part of the payment. Appietus alleged that the promised distribution did not take place. He linked the disagreement to Barosky’s current circumstances and argued that musicians who contribute to commercially successful recordings should benefit from the income generated by their work. The producer did not publicly present the original recording agreement, the film-licensing contract, payment records or documents identifying the person or company that received the money. His claim about the percentage he expected to receive also cannot be independently confirmed without access to the agreements governing the recording. What has been independently confirmed “Odo Nwom” was used in The Kitchen, a British dystopian drama released on Netflix in January 2024. Independent soundtrack listings published by NME and Mixmag identify the song among the recordings featured in the film. Some listings credit Kofi Nti and Ofori Amponsah, while others also associate Barosky with the recording. The Kitchen was directed by Daniel Kaluuya and Kibwe Tavares. Set in a future London, the film follows residents of a housing community resisting displacement as inequality deepens across the city. Netflix reported that the film entered its English-language films chart at number three with approximately 5.6 million views during its opening period. It recorded another 7.7 million views the following week. The placement gave “Odo Nwom,” a recording from Ghana’s highlife catalogue, renewed exposure to an international audience. It does not, however, establish how licensing income was divided. Why a Netflix appearance does not reveal who received the money The use of an existing recording in a film can involve several rights and separate payments. A production may require permission to use the underlying musical composition and additional permission to use the specific recorded performance, commonly known as the master recording. Songwriters, music publishers, performers, producers and owners of master recordings may consequently have different financial interests. Their entitlement normally depends on written agreements, registered ownership and licensing terms. Being heard on a recording does not automatically mean that every performer is entitled to an equal portion of every payment. Equally, the absence of someone’s name from a public soundtrack listing does not necessarily prove that the person has no contractual or royalty interest. The following documents would be needed to determine how the money should have been distributed: The original recording agreement for “Odo Nwom” The registered songwriting and publishing ownership Records identifying the owner of the master recording The synchronisation and master-use licences issued for The Kitchen Statements identifying the recipients of licensing payments Any separate agreement covering Appietus, Kofi Nti or Barosky Without these records, it is impossible to determine conclusively who received the licensing money or whether another contributor was denied a payment to which that person was legally entitled. Barosky’s welfare remains a separate concern Barosky’s immediate need for safe accommodation and coordinated assistance should be treated separately from the unresolved royalty dispute. Claims about his health or alleged substance use have been made by third parties. GhanaPunch has not independently confirmed those claims through medical evidence, and they should not be treated as a diagnosis. If Barosky still wishes to return to Ghana, any assistance should first establish his travel-document situation, whether he is medically fit to travel and whether responsible relatives or support organisations are available to receive him. Any public fundraiser created in his name should also have a verified organiser, a clearly identified beneficiary and transparent information showing how contributions will be used. A wider lesson for Ghana’s music industry The controversy points to a wider problem within the music business: contributors can participate in commercially valuable recordings without receiving clear written agreements covering ownership, royalties and future licensing. Older songs can generate new income years after their original release through films, advertisements, streaming platforms, remixes and other commercial uses. When ownership records and contributor agreements are incomplete, renewed success can lead to disagreement rather than shared opportunity. The dispute should therefore not be decided through social-media accusations. The appropriate next step is for the musicians, producer, publishers and recording rightsholders to examine the contracts and provide a transparent account of any licensing income. Until documentary evidence is released, Appietus’s statements remain allegations. What is already clear is that Barosky’s present circumstances require a coordinated response that protects his welfare, privacy and dignity. Visited 1 times, 1 visit(s) today Post navigation ‘Powder Man’ Granted Bail in Alleged US$30,000 Visa Fraud Case
