In a bold statement that has sent ripples across the Nigerian music scene, acclaimed singer-songwriter Beautiful Nubia has accused fellow musicians Yinka Ayefele and BBO of allegedly copying the melody of his iconic 1997 hit, “Seven Lifes.” Speaking out on social media on February 19, 2026, Beautiful Nubia did not hold back, describing the incident as a case of outright melody theft.
“Both stole their melodies from our original song “Seven Lifes”, he wrote, drawing immediate attention from fans and industry observers alike.
The claim, which has yet to receive a response from either Yinka Ayefele or BBO, has ignited debates over originality, influence, and copyright in the Nigerian music industry. It has also raised questions about where inspiration ends and theft begins.
Background on Beautiful Nubia
Beautiful Nubia, born Segun Akinlolu, is one of Nigeria’s most respected singer-songwriters, known for blending traditional Yoruba sounds with contemporary folk and socially conscious lyrics. Since the 1980s, he has been a prominent voice in the Nigerian music scene, earning a reputation not just as a performer, but as a cultural educator and advocate for African heritage in music.
His 1997 hit song, “Seven Lifes,” is widely regarded as a seminal piece in his discography. The track, which showcases his signature acoustic guitar work and melodic storytelling, has influenced a generation of Nigerian musicians and remains a fan favorite nearly three decades later. Critics often praise Beautiful Nubia for his ability to merge thoughtful lyrics, intricate melodies, and African rhythms in ways that feel both timeless and deeply personal.
Beyond his music, Beautiful Nubia is celebrated for his commitment to authenticity. He has consistently championed originality in an industry where replication and sampling are common, making any allegations of melody theft particularly notable.
His extensive catalog and decades-long career lend credibility to his claims, as he is recognized not only by fans but by fellow musicians and cultural commentators as an innovator whose musical contributions are distinct and influential.
By establishing this background, it becomes clear why the accusation of melody theft against prominent artists like Yinka Ayefele and BBO resonates not just as a personal grievance, but as a potential discussion point on originality and intellectual property in Nigerian music.
The Allegation: What Beautiful Nubia Said
On February 19, 2026, veteran Nigerian folk musician Beautiful Nubia took to his social media account on X (formerly Twitter) to publicly accuse gospel artists Yinka Ayefele and BBO of borrowing, or as he described it, “stealing” the melody of his 1997 song “Seven Lifes.”
In his post, he named the specific songs he believes copied his melody:
• Yinka Ayefele’s 2012 gospel track “My Faith in God (Igbagbo Ireti)”
• BBO’s 2026 single “Amin”
According to Beautiful Nubia, both songs drew heavily from the core melody of Seven Lifeswithout his permission or credit. He wrote:
“There was Yinka Ayefele with ‘My Faith in God (Igbagbo Ireti)’ in 2012 and now someone called BBO with ‘Amin’ this year. Both stole their melodies from our original song ‘Seven Lifes’. When will Nigerians (especially the so‑called gospel musicians) learn to respect copyright?”
He continued in the same post, voicing a blunt perspective on the situation:
“Stealing na stealing, e no get another name. Well, you could call it thievery.”
In framing the allegation this way, Beautiful Nubia not only accuses the two artists of melody copying, but also raises broader concerns about respect for copyright and intellectual property rights within Nigeria’s gospel music ecosystem. It’s a genre where many singers draw from shared traditions and religious themes.
As of this writing, neither Yinka Ayefele nor BBO has issued an official response to the allegation.
Side‑by‑Side Song Comparison
While Beautiful Nubia’s allegation is clear, the question remains: what exactly makes these songs similar? Netizens note that Seven Lifes, Yinka Ayefele’s My Faith in God (Igbagbo Ireti), and BBO’s Amin share some melodic patterns that fans say are strikingly alike. These include recurring motifs, certain chord progressions, and rhythmic phrasing that are reminiscent of Beautiful Nubia’s original composition.
It’s important to note that melody similarities do not automatically mean copyright infringement. Melody theft usually requires a detailed legal and musical analysis, considering elements like harmony, rhythm, and originality. Until such an analysis is conducted, any judgment remains speculative.
Bottomline is, it doesn’t seem Beautiful Nubia has any issue with his melody being sampled, but rather about fellow artists not asking permission.
Industry Context: Copyright Disputes in Nigerian Music
Accusations of copying, melody borrowing, or outright theft have become a recurring theme in Nigeria’s vibrant music industry spanning generations and genres. While some disputes are settled quietly, others spark public debate or even legal action, revealing deeper tensions over recognition, ownership, and artistic influence.
One of the most discussed controversies involved veteran singer Blackface, who publicly claimed that younger stars Wizkid, Burna Boy, and Asake used elements of his earlier songs without permission. Blackface specifically alleged that “Ginger” sampled his track “Twist & Turn”, and that Asake’s “Joha”borrowed from his song “Ikebe Supa”, though he did not pursue a formal suit in court over those claims.
In another high‑profile case, international gospel star Sinach faced a N5 billion copyright lawsuitfiled in November 2024 by music producer Michael Oluwole (also known as Maye). Oluwole claimed he co‑authored the global hit “Way Maker” and demanded recognition and royalties for his contributions. This case was still working its way through the Federal High Court in Lagos as of early 2025.
Going further back, legendary musician Sir Victor Uwaifo publicly criticised singers Simi and Jaywonin 2017, accusing them of re‑releasing or remixing his classic “Joromi” without proper credit.
There have also been producer vs. artist claims, such as the copyright case against singer KCee, where composer Jude Nnam claimed his composition was used without permission, though that suit was ultimately dismissed due to insufficient evidence.
These examples illustrate that copyright tensions in Nigeria are neither new nor isolated. They recur across decades and genres, from pop and afrobeats to gospel and traditional music.
Response and Public Reaction
As of now, neither Yinka Ayefele nor BBO has issued an official response to Beautiful Nubia’s public allegation. Media reports indicate that both artists have remained silent on social media and have not confirmed or denied the claim in interviews.
Despite the lack of official statements, the allegation has sparked immediate and widespread reactions from fans and netizens alike. On social media platforms like X and Instagram, users are divided.
Some support Beautiful Nubia, applauding him for calling out what they describe as a long-standing problem in the Nigerian gospel and music industry.
Others urge caution, noting that similarities in melodies do not necessarily prove theft
The story continues to trend across music news sites and social media, with hashtags and online discussions encouraging fans to compare the songs themselves and form opinions.
Conclusion
Beautiful Nubia’s public allegation against Yinka Ayefele and BBO has once again brought the issue of melody theft and copyright in Nigerian music into sharp focus. While the claim specifically points to the similarities between his 1997 song Seven Lifes and the tracks My Faith in God (Igbagbo Ireti) and Amin, no legal ruling or formal adjudication has confirmed infringement.
The situation highlights a recurring tension in Nigeria’s music scene of balancing artistic inspiration with respect for intellectual property. Past controversies, from 2Baba vs. Blackface to Omah Lay vs. Rema (2025), show that allegations of melody theft can generate widespread debate but rarely lead to swift legal resolution.
For now, the story remains unfolding, with netizens comparing melodies and discussing originality. As Beautiful Nubia pointedly asked in his post, respect for copyright remains a crucial conversation in Nigeria’s creative industry that affects both veteran musicians and the new generation of artists.
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