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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.