Grauchi, MC Gogo, DJ Lyta – you can name them; these are names that spark instant recognition on your YouTube homepage.

You’ve seen their videos rack up millions of views, perhaps shared around social media, lauded for their energy, their creativity, their electric presence behind the decks or the mic.

And yet, the surprising truth is this: many of these DJs and MCs make absolutely zero shillings from those YouTube videos, no matter how high the view count climbs.

For parody artists like Padi Wubonn, who recreate popular songs, the story is just as sobering, they don’t make a dime either. Here’s why millions of views often translate into exactly nothing in the bank for them.

For DJs and MCs, the biggest barrier is copyright. Their sets are built on other people’s music, songs owned by record labels and publishers.

YouTube’s Content ID system automatically detects this and flags it. In most cases, all ad revenue from that video is redirected to the copyright owners.

That means even if a DJ’s set hits 5 million views, every cent goes to the labels, not the performer. The DJs and MCs walk away with exposure, but no cash.

To earn money from YouTube ads, creators must not only qualify for the Partner Program but also post monetisable content.

For music-heavy videos, YouTube’s rules are strict: if your video contains copyrighted tracks you don’t own or license, you cannot monetise it.

This is why they earn nothing directly from YouTube on their mixes and event videos, even when the numbers look massive.

Parody creators like Padi Wubonn or Kajairo are in a similar bind. While parody is legally protected under “fair use” in many countries, YouTube’s monetisation system doesn’t automatically honour that protection.

Labels can claim the video, block ads, or redirect all revenue to themselves. In short: even if the parody is perfectly legal, the money still goes to the rights holder of the original song, not the parody artist.

For most DJs and MCs, YouTube isn’t a direct revenue stream it’s a marketing tool. Their uploads are meant to showcase their vibe, skill, and energy, attracting bookings for clubs, weddings, corporate events, and festivals.

The cash comes from the stage, not the screen. In this sense, millions of views can indirectly lead to big paydays but the video itself doesn’t put any money into their YouTube account.

On rare occasions when DJs or MCs try to legally license tracks for their videos, licensing costs can outweigh any possible ad revenue.

A license to use one popular song could cost hundreds or thousands of shillings making monetisation a loss-making venture unless the video goes astronomically viral.

Even if some music videos slip through monetisation, ad rates (known as CPM) on music-related content tend to be lower than on niches like finance or tech.

That’s because advertisers often see music videos as entertainment with less buying intent from viewers. This means the potential earnings per view are small, and when combined with copyright claims, often negligible or zero.