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    Home » Gospel Icon Sinach Faces ₦5 Billion Lawsuit Over Hit Song ‘Way Maker’
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    Gospel Icon Sinach Faces ₦5 Billion Lawsuit Over Hit Song ‘Way Maker’

    Emma TeeBy Emma TeeNovember 28, 2024No Comments3 Mins Read
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    • Gospel singer Sinach sued for N5BN over hit song ‘Way Maker’

    Gospel Icon Sinach Faces ₦5 Billion Lawsuit Over Hit Song'Way Maker'
    Gospel Icon Sinach Faces ₦5 Billion Lawsuit Over Hit Song ‘Way Maker’

    Renowned gospel singer Osinachi Joseph Egbu, popularly known as Sinach, is embroiled in a ₦5 billion copyright lawsuit filed by music producer Michael Oluwole, also known as Maye.

    The case, heard on November 27, 2024, at the Federal High Court in Lagos, centres on the ownership and earnings of Sinach’s globally celebrated song, ‘Way Maker.’

    Released in December 2015, ‘Way Maker‘ has become an anthem in gospel music, earning widespread acclaim and recognition.

    However, Oluwole claims that his critical contributions to the song—such as recording, mixing, mastering, and creating instrumental elements like the piano, strings, and synthesizers—have gone unrecognized.

    Oluwole contends that despite his vital role in shaping the track’s success, Sinach has excluded him from the profits and denied him credit. He is demanding ₦5 billion in damages, a share of the song’s revenue, and legal acknowledgement of his rights as a contributor. In addition, he is seeking a court injunction to prevent the unauthorized use of the track.

    This legal action follows Oluwole’s 2022 threat to sue Sinach during a live video session with popular social commentator Daddy Freeze. At the time, Oluwole alleged he had been sidelined and vowed to seek redress.

    Sinach, through her lawyer Emeka Etiaba (SAN), maintains she is the sole creator of ‘Way Maker.’ Her team asserts that she wrote, arranged, and performed the song long before Oluwole was engaged.

    According to her defense, Oluwole’s role was limited to mixing and mastering the final version, for which he was paid $300. They argue that his involvement does not entitle him to royalties or copyright claims.

    In contrast, Oluwole’s lawyer, Justin Ige, argues that the absence of a formal agreement between the two parties bolsters his client’s case. He highlights Nigerian copyright law, which can favour contributors in situations lacking clear contractual terms. This legal ambiguity has become a focal point in the lawsuit, raising critical questions about rights and compensation in the music industry.

    The ongoing dispute has sparked debate about intellectual property rights and fair compensation in Nigeria’s creative sector. Many observers believe the case could set a crucial precedent for addressing similar conflicts, especially in an industry where informal collaborations are common.

    As the court proceedings continue, the outcome will likely have lasting implications for artists, producers, and other creatives navigating the complex terrain of intellectual property in Nigeria.

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