6 Nigerian Artists Who Own Their Masters and How They Did It

The recent legal dispute between 960 Music Group and Burna Boy’s Spaceship Music has reignited a long-running industry question: Who really owns the music once the hits start coming in?

At the centre of many of these debates is “master ownership”, a term often thrown around loosely. In simple terms, owning your masters means owning the original sound recordings of your music and having the right to license, sell, or monetise them.

In Nigeria’s music industry, where traditional label deals historically favoured companies over artists, only a handful of stars have managed to retain or reclaim that control. Here’s how some of them did it.

Olamide’s path to ownership was built early and deliberately. After releasing his debut album ‘Rapsodi’ under ID Cabasa’s Coded Tunes in 2011, he quickly pivoted to independence, launching Yahoo Boy No Laptop (YBNL) as his own imprint.

Rather than relying on traditional label advances, Olamide focused on ringback tunes and mobile value-added services, which provided direct cash flow and reduced his dependence on external funding. This allowed him to release multiple projects under his own control throughout the 2010s.

In 2020, Olamide entered a joint venture with EMPIRE, structured as a distribution and marketing partnership rather than a rights transfer. Crucially, the deal allowed him to retain ownership of his catalogue while leveraging EMPIRE’s global infrastructure.

That same model shaped YBNL’s reputation. Artists like Lil Kesh, Adekunle Gold and Asake were able to exit the label with their masters intact, reinforcing Olamide’s standing as a label head who prioritised long-term artist independence.

Davido’s case is rooted in leverage. Backed by personal resources early in his career, he did not need to sign restrictive deals to break through. Hits like “Dami Duro” were released while he operated independently under HKN Music, a company he co-founded with his brother.

When Davido signed with Sony Music in 2016 and later RCA for international distribution, the agreements were structured outside the traditional model. He retained ownership of his master recordings while granting labels limited distribution and promotional rights.

He later formalised this structure through Davido Music Worldwide (DMW), which gave him control over both his output and that of his signees. Davido has publicly stated that master ownership is a priority for him, describing it as a legacy asset intended for his family.

Phyno’s ownership story predates his fame. Before becoming a mainstream artist, he worked for years as a producer and sound engineer, giving him control over the recording process from the outset.

By establishing Penthauze Music early in his career, Phyno positioned himself as both artist and executive producer. Albums like ‘No Guts No Glory’ were released under his own label, allowing him to retain ownership and licensing rights without relying on a major label structure.

Asa’s career has largely operated outside the Nigerian major-label system. Early partnerships with independent French label Naïve Records offered her greater autonomy than traditional global deals.

After leaving a production arrangement with Questionmark Records in the mid-2000s over contractual concerns, Asa pursued a more controlled path, working closely with trusted collaborators like Cobhams Asuquo. While the exact terms of her contracts are private, her consistent independence and catalogue control point to retained or shared master ownership rather than outright label possession.

Naira Marley rose to prominence without signing to a major label, releasing music independently and through small UK-based partnerships. In 2019, he formalised his operations by launching Marlian Music, under which he released subsequent projects.

As label owner, Marley retained control of his masters while adopting a crude revenue-sharing model with signees. Though controversial, the structure ensured that the label’s core assets remained in-house.

Mr Eazi has repeatedly stated that he rejected major label deals early in his career to avoid losing ownership of his music. Instead, he self-funded releases and later launched emPawa Africa in 2019, a talent incubator and distribution platform designed to prioritise artist ownership.

His model mirrors global shifts toward distribution-first partnerships rather than rights transfers.

The rise of artists reclaiming their catalogues has reshaped how Nigerian musicians think about ownership. More artists are now delaying deals, buying back rights, or waiting out contract clauses to regain control.

But ownership comes with trade-offs. Without major-label backing, artists often shoulder the burden of marketing, global distribution, and legal protection themselves.

For artists starting out with limited resources or backing, retaining masters can be nearly impossible, making every deal and decision crucial in Nigeria’s evolving music industry.

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