Did You Know

Did you know that every time you stream a song, the money doesn’t go directly to the artist whose song you played? Instead, streaming platforms add all of your subscription revenue together and then split it among artists based on total market share.This means that even if you stream only one underground artist all month, part of your subscription money still helps pay global superstars even though you didn’t stream their music. However, this does not apply to user-centric streaming platforms even though they’re very rare.

Did you know that a study across all streaming platforms has revealed that every December, global music streams quietly tilt towards warm-tone songs. This means that every December, people listen to more tracks with softer tempos and nostalgic melodies even if they aren’t Christmas songs. This may also be the reason why Afrobeats tracks with log drums, soft shakers and warm chords experience a spike in end-of-the-year playlists. Hence, below goes some recent Afrobeats / Afropop tracks that could definitely fit a “warm-tone, cozy December vibe” and have the potential to experience a spike this December; • “Baby (Is It a Crime)” — smooth production and mellow mood, great for chilled-down listening sessions. • “Gimme Dat” — recent collab with strong groove; fits well for late-year vibe when people are looking for fresh tracks. • “Kai!” — has danceable Afrobeat energy but still laid-back enough for cruises or chill December evenings .• “Kese (Dance)” — newer track with fresh sound, and its tempo works well for both dance and relaxed listening. • “Laho” — contemporary release, easygoing vibe, good for mellow nights or casual hangouts.

Did you know some artists lose ownership of their stage name if it was trademarked by their label? In many recording or management deals, the label quietly trademarks the artist’s name early on especially if they funded branding, rollout, or marketing. So when the artist leaves, they sometimes can’t legally use the same name for releases, merch, or performances unless they negotiate to buy it back. But WHY do labels do this?? •To protect the brand they invested in • To prevent an artist from leaving and carrying the label’s “property” • To maintain merchandising revenue.

Did you know that record labels can legally refuse to release an artist’s finished album even if the artist has met all creative deadlines? This is called “freezing” a project, and it happens when the label feels the music isn’t “commercially ready” or the market timing isn’t right. It’s one reason many artists negotiate “release commitment clauses” or “minimum release guarantees” (a label’s promise to commercially release an artist’s music within a specific timeframe after delivery) into their deals today, so their music can’t be shelved/held hostage indefinitely.

Labels don’t always own an artist’s master recordings (music rights) anymore, some artists now license their music to labels instead of signing it away. This means that instead of permanently selling their masters (like older contracts used to demand), artists now rent out their music rights to labels for a set period (say, 5–10 years). The label handles marketing and distribution, but once the deal expires, the artist gets full ownership back. This is evident in how Olamide’s YBNL has signed several licensing deals, including his partnership with Empire, which lets him and his signees (like Fireboy DML and Asake) keep ownership while enjoying global distribution. It’s a new era, and this is a testament to the fact that for artists, exposure is not enough, equity also matters.

Labels sometimes sign artists just to shelve them, meaning they buy the rights to their music and then never release it. The artist still belongs to the label (by contract), but their music never sees daylight. But why? It’s business, nothing personal. Labels just do it to: • Eliminate competition between similar artists. • Keep control of trends. • Or wait until “the right time” (which sometimes never comes). It sounds harsh, but it’s actually true. Some artists’ entire careers have been paused because their music got trapped in a label shelf. Some instances of shelving in the Nigerian music industry are listed below; • Brymo & Chocolate City (2013) – After a fallout, Brymo claimed he was unable to release new music because of his contract. His album Merchant, Dealers & Slaves faced roadblocks until legal intervention. • Kizz Daniel & G-Worldwide – Kizz’s early success with Woju and Laye was shadowed by a strict contract that limited collaborations and releases. When he tried to evolve, the label reportedly refused to clear new material, effectively freezing his output until he left and rebranded as “Kizz Daniel.” • May D & Square Records – May D was signed under P-Square’s label but barely released music before being dropped. He later revealed he had songs ready that were never put out. • Ycee & Tinny Entertainment – Ycee accused his former label of withholding royalties and control over his music after he left, hinting at how labels can slow an artist’s momentum post-signing. This is why most new artists nowadays (and even big names) now move independent, or use distribution deals instead of full label contracts as it gives them creative control over their art and ensures no one can lock up their art.

Did you know that some artists make more money from publishing rights than from performing? This is because when a song is written, there are two sides to the money: • The master recording (usually owned by a label), and • The publishing rights (owned by the songwriter or producer) This means that if you write or co-write a song, you’ll keep earning royalties forever every time it’s streamed, played on radio, or used in a film even if someone else sings it. It is how songwriters like Teni, CKay, Peruzzi, Seyi Say & Cobham Asuquo made their first millions before becoming stars — because they were getting paid off other people’s hits. As far as the Nigerian pen game is concerned, there’s a lot going on in the background between artists, hit songs and songwriters and here’s some BTS for you: Here are a few Nigerian artists who made money (or big breaks) as songwriters before or alongside becoming stars: 1. Ckay: Before “Love Nwantiti” went global, Ckay was producing and writing for others under Chocolate City. He co-wrote songs for artists like MI Abaga and Ice Prince, earning early royalties that kept him afloat while building his own solo career. 2. Seyi Shay: Before she dropped hits like “Right Now”, Seyi Shay was writing for international acts. She co-wrote “You Will See” for Melanie C of the Spice Girls and “White Lies” for Chipmunk.That publishing income helped her transition smoothly into stardom. 3. Peruzzi: Peruzzi was a ghostwriter before joining DMW. He co-wrote Davido’s “FIA” and “Risky”, which means each stream or performance still sends him publishing royalties. 4. Harrysong: Before “Reggae Blues”, Harrysong was writing jingles and songs for artists under Question Mark and Five Star Music. He penned the MTN “Welcome Tune” anthem that blew up nationwide, reportedly earning him millions in royalties. 5. Cobhams Asuquo: The legendary producer-songwriter behind Asa’s “Jailer” and “Fire on the Mountain” earns steady royalties every year. He’s one of Nigeria’s most respected publishing powerhouses and proof that the pen can pay.

We all know it; the simple, universal song sung millions of times a day and by millions of people around the world. It’d however interest to know that for decades, “Happy Birthday to You” wasn’t just a tune, it was a profit udder illegally milked by a music group. The “Happy Birthday to You” song was originally “A classroom song” written in 1893 by two sisters, Mildred and Patty Hill, who happened to be kindergarten teachers from Kentucky and they originally composed it as a classroom greeting titled “Good Morning to All” with the lyrics going thus: “Good morning to you, Good morning to you, Good morning, dear children, Good morning to all.” Over time, children and teachers began swapping the words to say “Happy Birthday to You” and by the early 1900s, it had become the go-to birthday anthem we know today. The Copyright Controversy The whole issue started when Clayton F. Summy Co., the publisher of the Hill sisters’ songbook, claimed ownership of both the melody and later lyrics. Then after a series of acquisitions, Warner/Chappell Music ended up owning the rights enforced it aggressively for decades by ensuring that movie studios, TV shows, restaurants, and even ads had to pay to use the song. It is reported that the licensing fees reportedly amounted to over $2 million per year for Warner/Chappell. It is also reported to have been the reason why movies like Bend It Like Beckham or Miss Congeniality used awkward “birthday-ish” songs instead since they couldn’t afford the heavy illegal licensing fee. The Lawsuit That Changed Everything The turning point however started in 2013, when documentary filmmaker, Jennifer Nelson was charged $1,500 to use the Happy Birthday song in her film which happens to be a movie about the song’s history. It was at this point that the copyright claim for invalidity was raised. This unravelled the truth that Warner/Chappell only owned the specific piano arrangements, not the lyrics or melody itself, and that the lyrics had actually been published without a valid copyright notice long before Warner’s claim. Thus, in 2016, a U.S. federal judge ruled in Nelson’s favor, declaring that “Happy Birthday to You” belongs in the public domain and everyone could use freely without legal trouble. Warner/Chappell was also made to agree to a $14 million settlement to reimburse people who had paid licensing fees and this case went on to became a landmark for music copyright law by reiterating the idea that some art actually belongs to everyone. @Alaro Basit

Here are instances where one artist’s pass became another’s global smash; Rihanna’s “Umbrella” Producer Tricky Stewart confirmed that the track was shopped around before Rihanna recorded it. Among the artists it was first pitched to included Britney Spears and Mary J. Blige who both turned it down before Rihanna grabbed it and made a breakout smash out of it. “Shape of You” originally for Rihanna Ed Sheeran confirmed that the song was originally written with Rihanna in mind during the writing sessions for ÷ (Divide), but he ended up keeping it and releasing it himself. Truthfully, the song’s vibe and lyrical idea fit what he imagined for her.Britney Spears’ anthem “…Baby One More Time” offered to TLC and others first Max Martin and his team initially pitched the demo to groups like TLC and the Backstreet Boys, and even the UK boyband Five passed on it but they all rejected it before it landed with Britney Spears, who made it a global phenomenon. This is a testament to the fact that hits often have a wild history as many songs written for one artist but rejected eventually turned into career-defining hits for another artist.