The ongoing dispute between Qing Madi and her record label, JTON Music, has, of course, brought Nigerians back to the realization of the growing concern about the imbalance between record labels and artists in Nigeria. The issue with record labels and contracts boils down to one basic thing: a lack of legal advice or legal consideration.
In Afrobeats today, it is clear that record labels are the new slave masters in town. Literally.
A lot of record labels in Afrobeats are making major waves. We have Mavin Records, YBNL, Chocolate City, and many others. These record labels are all in the business of making money, and only a few of them actually care about the artists in conjunction with that business. These labels are there to propel an artist’s career by helping them release music, providing funding, and supporting their growth. But primarily, record labels are profit-oriented. Everybody wants to make money. There is rarely an “I just want to help this person” mindset.
You see a lot of artists going independent these days and starting up their own labels, like Olamide with YBNL and Wizkid with Starboy Entertainment. What many people do not realize is that most of the reasons artists move on to start their own labels or become independent are tied to their experiences with record labels. At some point, it tends to feel like these labels are after your blood, sweat, and tears.
Take Kizz Daniel, for example. He debuted his first album, New Era in 2016 and it was the talk of the town. Woju was everywhere. Laye was everywhere. Then, in 2017, we heard about his legal battle with his record label. His royalties, his music, and his rights were all threatened. It was so bad that he was reportedly prevented from releasing music under his initial stage moniker and had to change said name just to continue his career.
Recently, he celebrated regaining rights connected to his earlier music. That means that for almost a decade after his debut album, he struggled with ownership and control issues over music he had created.
Situations like this are not uncommon in the Nigerian music industry.
THE PERFECT TARGETS
A lot of Nigerian artists face these problems, especially artists with little exposure, little education about entertainment law, or no legal backing. These are often the exact people these labels target.
Some of these disputes may be innocent misunderstandings. Perhaps the artist did not properly read the contract or fully grasp what they were signing and later realized they were uncomfortable with the terms.
However, two truths can coexist.
Some record labels are genuinely exploitative. They see talent, they see potential, and they see profit. They see a bright light and want to claim ownership of it. A young artist is doing well, their music is gaining attention. A label approaches them and feeds their minds with dreams of grandeur. Of course, these artists want success, wealth, and fame. Out of desperation to succeed, they sign outrageous deals without realizing that these labels may be positioning themselves to exploit them.
The case of Qing Madi is particularly sad because it is not the first time something like that has occurred in the industry, and it may not be the last. She herself expressed this sentiment during a TikTok live rant; these things are still happening.
A lot of artists’ careers have been damaged by record labels. Once an artist decides to leave, some labels allegedly try to bring their music down, withhold ownership rights, or frustrate their careers. Sadly, not everybody has the financial resources to pursue lengthy legal battles.
What really tipped Qing Madi off was the recent illegal takedown of Barely Legal, her recent EP. Five out of seven of the tracks on the EP were taken down, leaving only two available for streaming. Some of those tracks featured prominent artists such as Tiwa Savage and Flavour. If those allegations are true, how is that not sabotaging her career?
According to her, the record label has refused to let her go while also continually finding new, illegal ways to take down her songs, forcing her to repeatedly seek legal remedies to restore them. That is unfair.
She signed a deal with the label when she was around sixteen years old. She was young. She probably had little exposure to the legal implications of what she was signing. She likely saw people who appeared willing to take a chance on her, not people she believed would eventually exploit her.
Isn’t it quite absurd though that a label can possess the authority to interfere with an artist’s creative output after so much effort has gone into it?
THE ROOT
Understanding legal issues is becoming increasingly important for artists. Many artists do not fully understand the legal implications of ownership rights, royalty structures, and revenue-sharing provisions.
You cannot just sign contracts recklessly and without legal advice. Some of these contracts are not straight up front. Some extortionate demands are deliberately hidden and covered up by unnecessary words making it easy for these labels to get away with them.
Artists often feel constrained by these unfavourable contract terms, including long durations, low royalty rates, and lack of creative control, especially as these contracts mostly favour the labels. Some labels may require artists to produce a certain number of albums before they can leave. At the same time, those labels may retain significant discretion over which projects receive support or release. This can leave artists feeling trapped.
Transparency is another issue of concern. Shady dealings or mismanagement of funds definitely stir up suspicions of fraud. A lack of clarity in financial dealings naturally leads to mistrust. The dispute between Harrysong and Five Star Music clearly attests to this.
Labels may also claim excessive ownership over music that artists create, limiting their future control and earnings. This is one of the reasons behind King Sunny Ade’s split with African Songs Limited.
In reflection on his earlier years, Tekno revealed how he found himself having to choose between fame and financial stability with his former record label, Made Men Music Group. In his words, “Many record labels will make you famous and broke.”
Ayomaff is one of those artists that have dealt with this similar problem. When he released his hit single, Dealer, he was everywhere, but there was still the issue of his financial handicap. Popularity does not always translate into financial stability and fame is meaningless if it is not reflected in an artist’s earnings and quality of life.
AN IDEAL BALANCE
The way forward is simple. Artists should consult entertainment lawyers before signing any contract and actively negotiate terms rather than accepting whatever is placed on the table.
Also, if a label consistently leaves behind controversy, that should raise red flags. Some of these labels have developed reputations for repeated disputes with artists. Definitely, research should be done before signing with any label.
Most importantly, there should be stronger protections for underage artists. No record label should be allowed to take advantage of a young person’s inexperience simply because they are eager for success.
Ultimately, there needs to be a balance, an equitable partnership between artists and record labels. Contracts should also include reasonable termination provisions that allow artists to leave under specific circumstances.
Genuine advice to any upcoming artist is this: if you can do it alone, do it alone. But if you must take the path of signing with a record label, make sure you are not signing away the future of your career.
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