Intellectual property rights (IP) play a crucial role in economic development in any nation, and protecting the innovative and creative efforts of individuals and organisations is essential for fostering innovation, creativity, and investment across various economic sectors.
Every year, on April 26th, the world celebrates World Intellectual Property Day to acknowledge the vital role of intellectual property rights in fostering innovation and creativity across different fields
Data from the Federal Ministry of Arts, Culture, Tourism, and the Creative Economy (FMACTCE) reveals that the music industry has increasingly contributed approximately $2 billion (₦3.2 trillion) annually to Nigeria’s GDP. This accounts for about 7.7% of the $26 billion global music economy.
In 2023, the industry contributed $1.4 billion to Nigeria’s GDP, though that was alongside the film industry. This accounted for about 82% of revenue from the creative industries then.
These statistics simply reveal the significant industry growth and the impact the music industry has had on Nigeria in the last three years at home and the global market.
However, despite all the waves the industry has made, there is a storm. The intellectual property of artists in the industry is being challenged, stolen, and exploited.
The State of Nigeria’s Music Industry: Growth and Wins
More than ever before, the Nigerian music industry has raised its bar by leveraging technology to gain global recognition and generate more revenue.
In the past, pursuing a music career was not so lucrative. Musicians, in those times, especially upcoming artistes, used to go from street to street to perform with compact discs (CDs) for sale so people could hear their music and financial returns were minimal.
However, today, the landscape has changed significantly. The latest data and trends show that Nigerian artistes are no longer bound to the local market.
It is not just raw talent that is driving this rapid shift. The advent of social media has played a huge role. Platforms like TikTok have become powerful tools for pushing Nigerian music beyond borders. A catchy hook with a simple dance challenge can turn an unknown track into a global hit overnight.
Streaming platforms like Spotify, which reported a 146% increase in Nigerian music consumption in 2024, have helped increase the vibrancy of the industry. In the same year, Nigeria’s music industry ranked in 25th position globally.
Also, in 2024, Spotify paid $10 billion to the music industry globally, with Nigerian artistes cashing out over ₦58 billion ($37.5 million) as royalties. These figures revealed a massive growth of about 132% compared to 2023 when the payout was ₦25bn.
Though these figures are just a fraction of the global payout, it is important to note that it is not only Spotify that pays Nigerian artistes. Apple Music, Boomplay, and Audiomack pay Nigerian musicians as well.
And through these platforms, Nigerian artistes have gone from being overlooked to headlining international shows and bringing home prestigious awards. Names like Burna Boy, Wizkid, Davido, Tems, and Ayra Starr are not just local champions, they are global stars.
In the last five years, Nigerian music has taken the front stage and gained global attention. In 2021, Burna Boy won a Grammy. Tems has also made history with her recent Grammy. This proves that Nigerian artists are not just being heard, but also being celebrated.
While there are the Billboard entries, Grammy awards, and sold-out tours, there is an obvious fight over ownership of intellectual property in the industry.
Battles and Lessons
On April 4, 2025, the Nigerian-American singer, David Adedeji Adeleke OON, popularly known as Davido, was sued in the United States District Court on charges of stealing intellectual property
The lawsuit was filed by Martins Chukwuka Emmanuel, Abel Great Umaru, Kelvin Ayodele Campbell, and David Ovhioghena Umaru, who are Nigerian artists.
They claimed that Davido stole their 2022 song “Work” without permission to make his 2024 song “Strawberry on Ice,” with a Sierra Leonean singer, Emmerson Amidu Bockarie, popularly known as Emmerson.
The plaintiffs are seeking $150,000 in damages, 40% of the compositional copyright and 20% of the sound recording rights to “Strawberry on Ice,” and an injunction to prevent future infringement.
Similarly, Mercy Chinwo, a Nigerian gospel artist, is embroiled in a contentious royalties dispute with Ezekiel Onyedikachukwu ThankGod, her former music producer.
In early 2025, Chinwo publicly alleged that her former manager stole approximately $345,000 from her in earnings from streaming services such as Spotify, Boomplay, and Apple Music. According to her legal team, the funds were paid directly to the manager’s accounts without her knowledge or approval. As of now, this is still an unresolved case.
Also, the gospel artist Osinachi Kalu Okoro Egbu, often referred to as Sinach, was sued by music producer Michael Oluwole (Maye) for ₦5 billion. This is because of the 2016 popular song “Way Maker”.
Maye claims co-authorship. According to Sinach’s legal team, Maye’s contribution was mixing the master recording, for which he earned $300. Thus, she maintained that he is not entitled to any royalties.
Though there is no resolution yet as the court proceeding has been delayed, a report says the outcome will shape future disputes and raise concerns about the necessity of formal contracts.
Similarly, the late Mohbad (Ilerioluwa Aloba) was allegedly exploited. He alleged in 2022 that Marlian Records refused to pay him his due royalties, and his music was being released without his consent. It was unresolved until his untimely death in 2023.
These battles emphasise the significance of a clear contract and respect for intellectual property rights within the music industry. They also reflect the brutal realities of Nigeria’s music ecosystem in which originality does not always ensure ownership unless legal protection exists.
IP Rights in Nigeria’s Music Industry
Intellectual property refers to the product of any creativity by a creator, such as inventions, literary and artistic works, designs, symbols and names, while intellectual property rights are sole proprietary rights given by law to creators who own creative, literary, industrial and scientific works.
Although artistes’ intellectual property is protected by laws such as copyrights, patents, trademarks, and trade secrets, their rights are primarily protected under the Copyright Act of 2022 and enforced by the Nigerian Copyright Commission.
Copyright is a legal right that protects the creator of intellectual property from exploitation and theft. It is also the exclusive right given to the creator of creative work that prevents illegal reproduction and dissemination of their works.
The objective of the Act is to give protection and recognition to the songs, lyrics, beats and image of creators, set measures for how an author’s work is accessed, and enhance the efficiency of the Nigerian Copyright Commission (Section 1).
Section 6 (a) of the Act states that copyright will only be conferred on musical works first published in Nigeria. However in cases where there is a treaty or international agreement, copyright can be conferred upon verification. (2)
Also, in Section 9 of the Act, holders of copyright have exclusive rights to enjoy the following benefits of their innovative efforts:
(a) reproduce the work ;
(b) publish the work ;
(c) perform the work in public ;
(d) produce, reproduce, perform or publish any translation of the work ;
(e) make any audiovisual work or a record in respect of the work ;
(f ) distribute to the public, for commercial purposes, copies of the work, through sale or other transfer of ownership provided the work has not been subject to distribution authorised by the owner;
(g) broadcast the work ;
(h) communicate the work to the public ;
(i) make the work available to the public by wire or wireless means in such a way that members of the public can access the work from a place and at a time independently chosen by them ;
(j) make any adaptation of the work ; and
(k) do in relation to a translation or an adaptation of the work, any of the acts specified in relation to the work specified under this section.
The Act specifies in Sections 48 and 49 that any person or organisation who illegally or without any permission uses a copyrighted work is liable for infringement of copyright and its penalties.
Why IP Ignorance Persists: The Way Forward
Nigerian artistes are too desperate, legal experts say.
Speaking with The Jurist Newspaper’s reporter, Olabisi Afolabi, an Associate at Olisa Agbakoba Legal, said many Nigerians have had their lives transformed as a result of their musical talents.
“Most artists are very impatient to blow. Hence, they sign contracts that either waive away their intellectual property rights or give them a minimal percentage of these rights or are ignorant that the effective protection of their works, while still unblown can fetch them a living for life, if properly managed.
“After getting fame, they realise that they have signed themselves up for slavery, and this becomes a huge dispute, however, avoidable. The music industry, especially, is replete with such happenings.”
He further stated that Rema, Burna Boy, Wizkid, Joe Boy and a host of other Nigerian artists come from the most humble backgrounds. Their talents, from which they have reaped from their intellectual property protection, have transformed their economic state significantly.
“Firm IP rights protection has helped them to maintain control of their works, including to whom to license their songs, the channel of distribution and the exercise of diverse rights that relate to their songs and discography,” he said.
Another legal expert, Emmanuel Agherario, an Entertainment Lawyer, explains that most musicians are being exploited or robbed because of their ignorance of copyrighting their works and the terms of the contracts they sign with record labels or other industry players.
“Many artists sign away their rights without realising the long-term consequences. It’s crucial for creators to seek legal advice before entering into any agreements and to understand the value of their intellectual property.
“When they fail to properly register their copyrights and trademarks, this will leave them vulnerable to having their work stolen or copied without legal recourse.
To overcome this, Emmanuel said: “We need a multi-pronged approach: increased public education campaigns to raise awareness, stricter enforcement of existing laws and the courts need to be more specialised in IP matters, allowing for faster and more effective resolution of disputes.”
“When Nigerian music artists properly protect and manage their IP rights, they gain control over their creative output and can generate revenue through various avenues, such as licensing, royalties, and merchandise. This financial independence allows them to invest in their careers, produce higher-quality music, and build sustainable businesses. It also enables them to negotiate better deals with record labels and other industry stakeholders. Furthermore, strong IP rights allow Nigerian artists to compete on a global stage and contribute to the growth of the Nigerian music industry.”
