Nigeria’s Music Industry at a Crossroads: Leadership, Copyright Chaos, and the Battle for Artists’ Rights
In recent weeks, the Nigerian music industry has been thrust into a heated debate that goes far beyond social media banter, branding, or mere celebrity beef. What started as discussions over royalty distribution, industry governance, and representation has now ballooned into a broader controversy — questioning leadership credibility, accountability, and who truly speaks for Nigeria’s artists and creators.
Among the loudest voices in this conversation are industry heavyweights like Don Jazzy and Tega Oghenejobo, whose roles in shaping the modern Nigerian music era are undeniable. But with influence comes responsibility… and scrutiny.
Here’s a deep-dive analysis of what’s unfolding — why it matters, what positions different stakeholders are taking, and how this could reshape the business of Nigerian music.
🎤 Who Are the Key Figures and Institutions?
Don Jazzy — The Architect of Modern Afrobeats
Michael Collins Ajereh, popularly known as Don Jazzy, is one of the most influential music producers and executives in Nigeria. He founded Mavin Records in 2012 following the dissolution of Mo’Hits Records — and in just over a decade, the label has become one of Africa’s biggest music powerhouses. The Mavin roster includes globally recognized artists like Rema, Ayra Starr, Ladipoe, and Johnny Drille, with multiple international chart successes.
In recent years, Mavin underwent strategic expansion, including the acquisition of a majority stake by Universal Music Group (UMG) — aimed at elevating African music on the global stage.
Despite his massive contributions to music and mentoring talent, Don Jazzy has not been immune to criticism — from both fans and industry peers. Some detractors have even reduced his role to that of a mere social influencer instead of a business leader — a claim that reflects underlying tensions about his authority and industry positioning.
Tega Oghenejobo — The Strategist Next Door
Tega Oghenejobo is a senior executive within Mavin Global, holding roles such as President and Chief Operating Officer (COO). Don Jazzy publicly praised Tega’s leadership and resilience when expanding his responsibilities at the label, highlighting his strategic contributions to team-building, talent development, and operational excellence within one of Africa’s biggest record companies.
Beyond Mavin’s internal leadership structure, however, Tega’s name has surfaced in broader industry debates — particularly around the representation of artists and rights owners in copyright royalty frameworks.
📜 The Royalty Distribution Debate — MCSN vs. ReLPI
At the center of the current controversy is a dispute over how copyright levy funds (a statutory royalty compensation mechanism) are disbursed to rights holders in Nigeria.
What’s the Copyright Levy and Why It Matters
Under Nigerian law, a “private copying levy” compensates rights holders for works that are copied digitally — such as music downloaded or stored for private use. This levy is collected from devices capable of reproducing copyrighted material (like phones, flash drives, and PCs) and is meant to support creators when direct licensing isn’t feasible.
MCSN — The Government-Approved Collective Management Organisation
The Musical Copyright Society of Nigeria (MCSN) is the only Collective Management Organisation (CMO) formally recognized by the Nigerian Copyright Commission (NCC) to license, monitor, and distribute royalties for musical works and sound recordings. CMOs typically act on behalf of musicians, composers, and producers to collect and distribute payment when their works are used commercially or publicly.
ReLPI — Labels Claiming Representation for Rights Owners
In response to the NCC’s plan to route the private copying levy exclusively through MCSN, Record Label Proprietors Initiative Limited (ReLPI) — an umbrella group representing major Nigerian labels including Mavin Records, Chocolate City, Davido Music Worldwide (DMW), and international partners like Sony and Warner — objected strongly.
ReLPI argues that:
MCSN does not have the mandate to collect and distribute royalties on behalf of all rights holders, especially those represented directly by record labels.
Section 88(9b) of Nigeria’s Copyright Act 2022 prevents a CMO from collecting royalties for a work if the owner is already represented by a separate rights body.
Section 89(3) allows copyright levy funds to be disbursed not only to approved CMOs, but also to other legitimate representatives of rights owners — potentially including entities such as ReLPI itself.
Their stance is that the current model could misallocate billions in royalties, excluding labels and producers from fair compensation, and undermine confidence in the industry’s royalty administration.
International Backing for Fair Distribution
The International Federation of the Phonographic Industry (IFPI) — a global body representing record company interests — wrote separately urging transparency and equitable distribution of the levy. IFPI emphasized that funds attributed to sound recordings must reach legitimate rights holders and caution against paying royalties to an entity without explicit mandate.
📊 Why This Dispute Matters for Nigerian Music’s Future
1. Financial Stakes Are Growing
As Nigerian music continues its global rise — with hits like Rema’s “Calm Down” achieving unprecedented streaming success worldwide — the revenue tied to sound recordings and public performance rights is more significant than ever.
Misinvestment or misdistribution of royalties could jeopardize not only immediate earnings but also future investor confidence, potentially slowing growth in the creative economy.
2. Governance Shapes Industry Sustainability
The royalty dispute isn’t just about funds — it’s about trust in industry governance. Rights holders want assurance that whoever manages royalties:
Has a clear mandate from artists and labels.
Is transparent and accountable.
Upholds international best practices in copyright administration.
Failure to address these will likely deepen fragmentation between stakeholders, rather than unify them under a shared vision.
3. Social Media Rhetoric vs. Systemic Solutions
While high-profile social media posts calling out individuals can go viral, industry experts warn that public accusations alone won’t fix systemic issues. Without constructive policy reform and collaboration among creators, labels, and regulators, the underlying royalty administration problems will persist.
🚀 A Call for Transparency, Mandate, and Fair Play
Nigeria’s music industry is at a pivotal moment. The creative workforce powering Afrobeats’ global ascendancy deserves systems that protect their rights, pay them fairly, and support sustainable growth.
This means:
Reexamining how copyright levies are administered to ensure alignment with legal statutes.
Ensuring rights owners have genuine representation in any body handling royalties.
Facilitating industry-wide dialogue between regulators, rights bodies, and creators to build trust.
Ultimately, this isn’t just about who wears what mask or who ignored which call. It’s about whether the Nigerian music ecosystem can evolve from informal structures and disputes to a legitimate, professionally managed, and globally competitive creative economy.
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