Nigerian folk singer Segun Akinlolu, widely known by his stage name Beautiful Nubia, has publicly accused gospel artistes Yinka Ayefele and BBO of infringing on the copyright of his song titled Seven Lifes. The veteran musician made the allegation in a post shared on his social media platform on Thursday, sparking conversations about intellectual property rights within the Nigerian music industry.
In his statement, Beautiful Nubia alleged that Ayefele’s 2012 track My Faith in God (Igbagbo Ireti) and BBO’s recently released 2026 song Amin both borrowed heavily from the core melody of his original composition. According to him, the similarities go beyond coincidence and amount to a direct appropriation of the melodic structure that defines Seven Lifes.
Expressing frustration, the folk singer questioned when Nigerian musicians—particularly those in the gospel genre—would begin to show greater respect for copyright laws and creative ownership. He lamented what he described as a recurring pattern in which original works are replicated or adapted without proper acknowledgement or permission from the creators.
“There was Yinka Ayefele with ‘My Faith in God (Igbagbo Ireti)’ in 2012 and now someone called BBO with ‘Amin’ this year. Both stole their melodies from our original song ‘Seven Lifes’. When will Nigerians, especially the so-called gospel musicians, learn to respect copyright?” he wrote.
Beautiful Nubia, known for his distinctive fusion of folk music with socially conscious themes, has built a reputation over the years as a fiercely independent artiste who prioritises originality and lyrical depth. His music often reflects philosophical reflections, cultural narratives, and moral commentary, making him a respected figure within Nigeria’s alternative and folk music scenes. The song at the centre of the dispute, Seven Lifes, is regarded by many of his fans as one of his notable works, recognised for its unique melodic composition.
As of the time of this report, neither Yinka Ayefele nor BBO had issued a public response addressing the allegation. It remains unclear whether the matter will proceed to formal legal action or be resolved privately between the parties involved.
The accusation has reignited discussions about intellectual property protection within Nigeria’s music industry, particularly in the gospel music space, which has witnessed rapid growth over the past decade. While gospel music continues to command a large and devoted audience, questions about originality, sampling practices, and proper licensing have surfaced intermittently.
Copyright infringement cases in the creative industry often hinge on demonstrating substantial similarity between works, particularly in melody, harmony, rhythm, or lyrical content. Music law experts note that while inspiration and influence are common in artistic expression, reproducing a distinctive melody without permission may constitute infringement under copyright statutes.
Observers say the controversy underscores the need for stronger awareness and enforcement of intellectual property laws, as well as clearer industry standards regarding sampling, adaptation, and musical borrowing. For many artistes, protecting original compositions is not only a matter of financial interest but also of artistic integrity and recognition.
As conversations continue online and within industry circles, stakeholders are watching closely to see how the dispute unfolds and whether it will prompt broader dialogue about creative rights, ethical standards, and accountability in Nigeria’s evolving music landscape.
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