The maltreatment of artists and creatives in the areas of payments, copyright infringement, and downright abuse by record label owners is one that has been documented repeatedly.
Across the Nigerian and African music, film, and creative industries, an overarching issue is how poor management and ripping off of artists/creatives can lead to disillusionment with music and creative careers. The rise of social media content creation over the past five years, and how newer underground artists in Nigeria are utilizing social media to break into the music scene, raises questions about intellectual property protection, proper education for creatives, and the importance of well-versed legal advocates specifically tailored to the needs of Nigerian producers and artists.
The truth is Nigeria is not lacking prominent strategists and lawyers dedicated to simplifying the business of music and creativity. Akinyemi Ayinoluwa, a Lagos-based entertainment lawyer, has these two as his life’s work. A leading music advocate and IP enthusiast, the adequate legal protection of creatives and their managers is at the heart of his work ethic.
Recently named a 2025 Billboard Top Music Lawyer, he is the only Nigerian lawyer in 2025 to have received that recognition earmarked for landmark legal voices shaping the global music industry. With a career spanning sixteen years, he has represented Afrobeat industry leaders like MasterKraft, Kuk Beat, and Blaq Jerzee as a lawyer.
The managing partner of Hightower Solicitors & Advocates in Lagos, his expertise ranges from music publishing, contract negotiation, and a focus on amplifying the legal and financial rights of songwriters and producers.
What is interesting about his journey as a music lawyer, philanthropist, and legal entertainment advocate is that he has been a songwriter before, a position he believes gives him the empathy needed to represent talents adequately.
“Being a former recording artist and songwriter enables me to understand the pain points of creatives”.
More Branches spoke with him to glean his thoughts on his Billboard win, the intersection of law and music, and what the future looks like for Nigerian creatives.
Congratulations on being named one of Billboard’s Top Music Lawyers of 2025. What was your initial reaction when you received the news, and what does it mean for African music law on the global stage?
“Many thanks for your congratulatory message. I felt great. It still means a lot to me. An icing on the cake after 16 years of dedicated service to the Nigerian music industry. I think this signposts a new dispensation to my peers and colleagues. African music lawyers can be world-beaters, even when born, bred, educated on the continent, and representing African talents.”
You have been a music lawyer for over a decade and have witnessed the global expansion of Afrobeats. What are the biggest legal challenges African artists and producers face when their music travels internationally?
“I can think of two major challenges at the moment. The absence of an experienced music lawyer who is able to give the best support to help draw the artist closer to prosperity. Another is when the Artist has a very weak legal foundation to support the exploitation of his creativity.”
“Many talents in their desperation have made uneducated decisions with the rights to the music and likeness, and when they finally arrive internationally, there are little to no benefits for them, and they become depressed and disillusioned when there are no tangible results, despite commercial success.”
Do you think music law across Africa has evolved to match this cultural and commercial growth? What legal infrastructure needs to be put in place?
“I believe that there is a growing number of very enthusiastic and educated lawyers who want to add value to the music industry in the developed music markets in Africa. I believe that this is great for the ecosystem. It would definitely get better.”
“With more lawyers coming into the music business, they will be able to become politicians, investors, and policy-makers who drive and champion African creativity and its wealth-making potential. They will also lay the necessary infrastructure for the development of the ecosystem, such as rights management and the enforcement of intellectual property rights.”
As a former recording artist and songwriter, how has your creative background influenced your work in music law?
“I believe that I understand the pain points of creators of music, and this helps me connect with the community at a deeper level. It also helps me take better bets on the creatives deserving of my time and resources, for championing.”
With new artists and producers emerging from across Africa, what advice do you give them about protecting their work and building sustainable careers?
“I tell creatives that it is best to learn from the best, from the greatest artists and producers who have ever done it. Every talent must be a student of history. There are too many great examples to learn from. The fundamental principles for prosperity in the music business are still the same, I believe.”
“The most successful artists and producers understood the inherent wealth-making potential of their intellectual property rights, and they protected their interests at all times. They understood that their decision-making in the short term must not impede future benefits.”
Your firm is rolling out a mentorship programme for young African lawyers. How important is education, mentorship, and music literacy in building the next generation of African music lawyers and creators?
“We are happy to give back. All these make the ecosystem better for the prosperity of all players in the ecosystem. It also helps build the sustainability of the ecosystem.”
What does success look like for you? What continues to drive your passion for this work, and what legacy do you hope to leave behind?
“Success is me being able to be a part of many talented people’s journeys, helping them move from just being creative or talented, to having a prosperous life in music and outside of music.”
“My passion for the music business is rooted in the fact that no two days are the same. Music takes me everywhere. I have been to 20 countries and tens of cities. I also enjoy the unpredictability of working in the business. I want to be remembered for helping the most important African songwriters and record producers build colorful careers, music catalogs, and big businesses.”
