Goke Bajowa Issues Final Warning to Boye Best Over Alleged Copyright Infringement

Veteran gospel singer Goke Bajowa has threatened legal action against fellow artiste Boye Best over the alleged unauthorized use of his song “Iwo Ko Lodami.”

In a video shared via Instagram on Sunday, Bajowa accused Boye Best of repeatedly performing the song at events and across platforms without proper acknowledgment of its original ownership. He described the act as misleading and unfair, particularly given the recognition and benefits derived from the song’s popularity.

“It is both misleading and unfair to present it in a way that suggests ownership or exclusive rights, especially when you have evidently benefited from its widespread use,” Bajowa stated.

Labeling his message as a “final warning,” the gospel singer revealed that prior communication had already been made to address the issue, but was allegedly ignored.

“This is a final warning to you, Boye Best. You have continued to use my song Iwo Ko Lodami indiscriminately across multiple platforms and events, despite earlier communication making it clear that you do not own the rights to this work,” he said.

While clarifying that he is not against performances of the song, Bajowa stressed that due credit must be given moving forward.

“Going forward, you must properly acknowledge the original owner, Goke Bajowa, in every use of the song. Failure to do so will leave no choice but to pursue appropriate actions to protect the integrity and ownership of the work,” he added.

Opinion: Gospel Music Isn’t Exempt from Copyright Responsibility

This situation highlights a growing but often overlooked issue in Nigeria’s gospel music space—intellectual property rights.

There’s a long-standing culture in gospel circles where songs are freely shared, performed, and even modified without formal credit. While this may stem from a place of ministry and collective worship, it doesn’t erase the legal and creative rights of the original composer.

Goke Bajowa’s reaction might seem strong to some, but it reflects a necessary shift. Gospel artists are not just ministers—they are also creators whose work carries value, effort, and ownership.

At the same time, this raises a question for Boye Best and others in similar positions: is the issue deliberate disregard, or simply a lack of awareness about proper crediting?

Either way, the era of “free use without recognition” is fading. As the gospel industry continues to grow professionally, artists will need to balance ministry with structure—and that includes respecting copyrights.

In the end, giving credit doesn’t reduce the impact of a song; it preserves its integrity and honors the one who birthed it.