Melody, Memory, and Ownership: Ayefele–Beautiful Nubia Dispute Sparks Fresh Copyright Debate in Gospel Music

Veteran Nigerian gospel singer Yinka Ayefele has publicly responded to allegations by fellow artiste Beautiful Nubia, who accused him of copying a song melody without proper credit. The controversy has stirred conversations across the Nigerian music space, particularly within the gospel community where originality and spiritual messaging are often expected to go hand in hand.

The dispute centres on similarities between Ayefele’s 2012 track My Faith in God (Igbagbo Ireti) and Nubia’s earlier composition Seven Lifes. Nubia also alleged that another gospel musician, BBO, used elements from the same melody in his 2026 single Amin.

Reacting on his verified Facebook page, Ayefele questioned the origin of the melody in dispute and appeared to challenge the infringement claim, writing in part: “WHO IS THE COMPOSER OF EBAMI GBONDO YI GBE… Who was acknowledged… INFRINGEMENT AYE…” His response suggests that the song’s roots may predate the versions currently being debated, raising the possibility of a traditional or widely shared musical base rather than a single identifiable owner.

Nubia, however, maintained his stance in a statement on social media, expressing frustration over what he described as a recurring culture of uncredited borrowing within the gospel music industry. He argued that respect for intellectual property should not be optional, especially among musicians who operate within a faith-based space.

Ayefele’s song is listed as part of his 2012 project Goodness of God, which further complicates the timeline, as questions now arise about whether the melody itself has deeper historical or cultural origins beyond both artistes’ recordings.

Opinion: A Teachable Moment for the Gospel Music Industry

Beyond the personalities involved, this controversy highlights a larger issue that Nigerian music—particularly gospel—must confront: the thin line between inspiration, adaptation, and outright infringement. Gospel music in Nigeria often draws heavily from folk tunes, church choruses, and traditional rhythms passed down through generations. This cultural blending can make ownership difficult to define, but it does not eliminate the responsibility to acknowledge sources where identifiable.

What makes this case particularly sensitive is the moral expectation placed on gospel artistes. Audiences often hold them to higher ethical standards because their music is rooted in faith and values. When disputes over originality arise, it risks eroding public trust—not just in individuals, but in the genre as a whole.

At the same time, accusations should be approached carefully. Music history is full of coincidental similarities, shared chord progressions, and melodies that evolve across communities. The most constructive path forward may not be public confrontation but professional dialogue, documentation, and, where necessary, legal clarification.

Ultimately, this moment could serve as a turning point. If addressed thoughtfully, it may encourage better copyright awareness, proper crediting practices, and stronger creative integrity within Nigeria’s gospel music scene—an outcome that would benefit both artistes and listeners alike.