Gospel music icon Osinachi Joseph Egbu, popularly known as Sinach, has scored a major legal victory after a ₦5 billion copyright lawsuit filed over her global hit Way Maker was thrown out by the Federal High Court in Lagos.
The case, which had drawn wide attention across Nigeria’s music and faith communities, centered on claims of co-ownership and unpaid royalties for one of the most sung gospel anthems of the last decade.
The ₦5 Billion Claim That Shook the Gospel Scene
The lawsuit was filed by music producer Michael Oluwole, also known as Maye, under suit number FHC/L/CS/402/2024. Maye alleged that he was a co-author and co-owner of Way Maker, which was released in December 2015. He told the court that his contributions went beyond technical work, claiming he handled the recording, mixing, and mastering of the track, and created instrumental accompaniments including piano, strings, and synthesizers. He further argued that these contributions were made without a formal transfer of his performer’s rights, and that Sinach had gone on to license the song commercially without compensating him or sharing proceeds.
Among his reliefs, Maye asked the court to declare him a co-owner, order an equitable sharing of all licensing fees, compel disclosure of all revenue from the song, and award ₦5 billion in general damages for alleged cumulative infringements. He also sought a perpetual injunction to restrain further reproduction or performance of Way Maker.
Sinach’s Defense: Sole Authorship and Paid Service
Sinach, through her legal team led by Emeka Etiaba SAN of Etiaba Chambers, strongly denied all claims. In her response, the award-winning singer maintained that she achieved global recognition before Way Maker and that she was the sole author of the song, which she composed, arranged, and performed in collaboration with other artists prior to Maye’s involvement.
Her team argued that Maye’s role was strictly limited to mixing the master recording, a technical service for which he was paid ₦150,000, about $300. According to Sinach, there was no written agreement establishing co-ownership, and therefore no legal basis for revenue sharing.
In public comments, Sinach also addressed the issue directly, stating that Maye was settled for his work and that she does not owe him co-ownership of the music.
Court Proceedings and What the Dismissal Means
The case was heard at the Federal High Court in Lagos and had been adjourned several times, with dates set for January 29 and 30, 2025. According to reports, the court has now dismissed the ₦5 billion copyright suit against Sinach, effectively affirming her sole rights to Way Maker and clearing her of the claims of infringement and co-ownership.
While the full written judgment details were not included in the filings reviewed, the dismissal brings to a close one of the most high-profile intellectual property disputes in Nigeria’s gospel industry in recent years.
Legal analysts note that the case highlighted a recurring challenge in Nigeria’s creative sector: the need for clear, written agreements between artists, producers, and engineers before work begins. The dispute underscored how technical contributions in the studio can become contentious when royalties and global success enter the picture.
Beyond the courtroom, Way Maker remains a cultural and spiritual landmark. Released on December 30, 2015, the song has been translated into over 50 languages and performed by global artists including Michael W. Smith and Mandisa. It became anthem of hope during the COVID-19 pandemic and was sung at vigils and protests worldwide, including during the George Floyd demonstrations in the U.S. In 2020, Sinach made history as the first African artist to top the Billboard Christian Songwriters Chart, largely on the strength of Way Maker.
For millions of worshippers, the song’s message of faith in difficult times has transcended borders, making the legal battle over its ownership even more closely watched.
A Lesson for Nigeria’s Creative Industry
The Sinach vs. Maye case is now being cited as a reference point for intellectual property rights in Nigeria. It reinforces the importance of contracts, proper documentation of creative contributions, and clarity on performer’s rights before a song is released commercially.
With the court’s decision, Sinach retains full control over Way Maker and its licensing. The ruling also sends a clear signal to producers, engineers, and collaborators: technical input alone does not automatically confer authorship or ownership without a prior agreement.
For Sinach, the dismissal allows her to continue her global ministry without the cloud of litigation. For the industry, it’s a reminder that as Nigerian music continues to go global, legal frameworks must evolve to protect everyone involved.
The Federal High Court’s decision marks the end of a lengthy chapter, but the impact of Way Maker, and the conversations it sparked about creativity, credit, and compensation, will likely shape Nigerian gospel music for years to come.
