Entertainment
Nigerian Music Industry In Limbo … As COSON, MCSN Battle On
The long battle between Copyright Society Of Nigeria (COSON) and Music Copyright Society Of Nigeria (MCSN) as to who is legally responsible to act as a collective management organisation/collective society (CMO) or simply put collect royalties on behalf of artistes rages on.
Recently, MCSN issued a release which was made available to the media that they have been empowered by the Nigerian Copyright Commission (NCC) to be the sole CMO for the Nigerian Music Industry (NMI).
In a bid in putting a tie to the subtle campaign in certain quarters and affirming the progressive direction and development of the collective administration of copyright in Nigeria, the NCC has granted to the Musical Copyright Society Of Nigeria Led/GLC (MCSN) the renewal of its approval license.
Its approval or license to continue to operate as a Collective Management Organisation (CMO) in accordance with the provisions of the copyright Act, Cap c.28 Laws of the federation of Nigeria 2004 and the copyright (Collective Management Organisation) Regulations, 2007.
“The renewal of MCSN’s approval to continue to operate as CMO or collecting society for musical works and sound recordings was conveyed by a letter dated 22nd December, 2020 from the NCC”, the release reads in part.
The release also declares that COSON’s approval to operate as CMO has been suspended since 2018 and thus has no legal standing to operate in the capacity of a CMO. But in a counter move, COSON also released a statement of their own, warning the general public not to seek any license for the use of any musical works or sound recordings in the repertoire of COSON from MCSN.
The statement issued by COSON’s General Counsel, Ms Simi Wash-Pam reads in part:” the recently announced so called renewal of approval of MCSN by the NCC led by Mr John Asein is of little significance. This is so because the maneuvering still cannot permit MCSN to legally license musical works or sound recordings not owned by it or which have not been placed in its repertoire by lawful proprietary assignments or by means of any reciprocal representative agreements lawfully entered.
Ms Wash-Pam also emphasised that under no circumstances is MCSN or any of its agents legally authorised to represent COSON or any of the thousands of members COSON or lawfully license the use of any of the millions of musical works and sound recordings in the repertoire of COSON as non of the works whether here or international are intellectual property belonging to individual has been assigned to MCSN.
Wash-pam was equally emphatic that not even the Nigerian copyright commission has the power under any law known in Nigeria to authorise MCSNvor anyone else to license the musical works and sound recordings lawfully assigned to COSON or placed in the COSON repertoire by means of any reciprocal representation agreement.
From the foregoing, it does appear the Nigerian music industry maybe in a limbo as both COSON and NCSN have artistes registered with them separately. Representation by the CMO requires that artiste is registered with a CMO, thus granting the CMO powers to act on its behalf they operate using a fee schedule, for instance blanket licenses which allows user to make use of the entire contents represented by the CMO for a prescribed period.
However, the NCC has been empowered by Nigerian copyright Act (NCA) 2004 to grant licenses to CMO to operate and act on behalf of copyright owners. By the current development, only MCSN has the blessing of NCC to act as Nigerian sole CMO but the bottom line in the development and the contention of COSON is that MCSN cannot represent artistes registered with them.
The milestone was confirmed on Monday by FilmOne, the movie’s distributor, who announced that the film is now the fastest title in West Africa to cross ?1 billion. The achievement further cements Akindele’s dominance in the Nigerian film industry.
Since its release, Behind the Scenes has shattered multiple records. It posted the highest single-day box office gross ever on Boxing Day, earning an impressive ?129.5 million. It is also the highest-grossing film of 2025 so far, and remarkably, it marks Akindele’s third movie to cross the ?1 billion mark, a feat no other director has achieved.
The Tide Entertainment reports that with this latest success, Akindele has strengthened her position as Nollywood’s highest-grossing producer of all time, becoming the first filmmaker to deliver three billion-naira blockbusters within a single calendar year.
Reacting to the achievement, the actress and filmmaker expressed heartfelt gratitude to her supporters, collaborators, and distributors, while also revealing the film’s growing international reach.
“Over the years, I’ve always valued my fans, because without God and you, I am nobody,” she wrote.“Thank you all for coming out to watch this movie and for supporting my brand through the years.Thank you to the distributors, my colleagues—especially those not in the movie who still came out to meet and greet my fans.Big love to the cast and crew. This is only the beginning; let’s take Behind the Scenes even further.”
She also disclosed that the film is currently screening in cinemas across two European countries and the United States, signaling its expanding global appeal.
Akindele’s box office dominance has been nothing short of historic. In 2023, Battle on Buka Street became Nollywood’s highest-grossing film with ?640 million. She raised the bar again in January 2024 when A Tribe Called Judah became the first Nigerian movie to hit ?1 billion. Later that year, Everybody Loves Jenifa broke another record, grossing ?1.6 billion to become the highest-earning film in West African history.
The Tide Entertainment reports that International stars Busta Rhymes and Gunna topped the bill, while the festival showcased a powerhouse roster of African talent including Wizkid, Tiwa Savage, Shenseea, Phyno, Fave, Juma Jux, Qing Madi, and Diamond Platnumz, among others.
The festival launched December 7 with an eye-catching opening ceremony featuring aerial ballet performers, establishing an elevated artistic vision for the weeks ahead. That first night brought Nigerian heavyweights Wande Coal, Young Jonn, Ice Prince, Darey, Fola, Shoday, and Jerry Shaffer to the stage.
The Federal Ministry of Art and Culture partnered with the festival, with Minister Hannatu Musa Musawa acknowledging Detty December Fest as a vital force in Nigeria’s cultural landscape. She emphasized its impact on amplifying the country’s creative presence internationally and driving holiday tourism.
The 2025 edition raised the bar for live entertainment in Lagos, building on Detty December’s established reputation as a catalyst for tourism, entertainment, and economic growth during the year-end season.
Nigerian singer Innocent Idibia, popularly known as 2Face, has revealed his former bandmate Faze’s position in the long-running rift between him and their other ex-bandmate, Blackface.
The Tide Entertainment recalls that Blackface and 2Face have been involved in an on-and-off feud over the years, with the former repeatedly accusing the latter of intellectual property theft, allegations 2Face has consistently denied.
Addressing fans midway through his performance at the Made in Benue Festival in Makurdi recently, 2Face said Faze has maintained a neutral stance in the dispute between him and Blackface.
He stressed that the rift does not involve Faze in any way.
“You all know that Plantashun Boiz consisted of Blackface, 2Face and Faze. But due to some unforeseen circumstances, Blackface is not with us right now.
“However, no matter the beef wey me and Blackface get, nothing concern Faze inside. So, Faze is right here with me and we will represent Plantashun Boiz,” he said.
The rift between Blackface and 2Face began after Plantashun Boiz disbanded in the 2000s.
Following their split, Blackface blamed 2Face for the breakup and accused him of song theft.
The relationship between the duo has remained strained over the years despite several attempts at reconciliation, with peace efforts often short-lived.
