Gospel musician Yinka Ayefele has publicly responded to allegations of copyright infringement made by fellow artiste Beautiful Nubia, following claims that portions of his 2012 song bear striking similarities to Nubia’s earlier composition.
The controversy erupted after Beautiful Nubia took to social media platform X (formerly Twitter) to accuse Ayefele and another gospel musician, BBO, of copying the melody of his song Seven Lifes without proper acknowledgment. Nubia alleged that Ayefele’s 2012 track, My Faith in God (Igbagbo Ireti), as well as BBO’s 2026 single Amin, borrowed heavily from his original work.
Expressing frustration over what he described as a recurring issue in the gospel music industry, Nubia wrote that both songs “stole their melodies” from Seven Lifes. He questioned when Nigerian musicians—particularly those in the gospel genre—would begin to respect intellectual property rights and properly credit original creators.
In response, Ayefele addressed the allegation on his verified Facebook page on Tuesday, raising questions about the ownership and authorship of the disputed composition. In a cryptic but pointed post, he wrote: “WHO IS THE COMPOSER OF EBAMI GBONDO YI GBE ..JANGBALAJUGBU …. Who was acknowledged.. INFRINGEMENT AYE..” His remarks appeared to challenge the basis of the claim and suggest that the issue of original authorship may be more complex than presented.
Ayefele’s ‘My Faith in God (Igbagbo Ireti)’ was released on December 9, 2012, as part of his Goodness of God project. The song has since circulated widely among gospel audiences. However, neither party has provided detailed musical analysis publicly to substantiate or refute the allegation of melodic duplication.
The dispute highlights broader concerns within Nigeria’s music industry regarding copyright enforcement and creative ownership. While gospel music often incorporates traditional hymns, folk influences, and shared cultural expressions, disputes frequently arise over melody lines, lyrical phrasing, and arrangement similarities.
As of the time of reporting, there has been no indication that the matter has been taken before a court or formally filed with a regulatory body such as the Nigerian Copyright Commission. Both artistes remain active in their respective careers, with the dispute unfolding largely in the public domain.
