The recent announcement of a new Sony Group AI system that can measure the use of copyrighted material in trucks created by artificial intelligence has brought Nigeria’s legal framework into focus and highlighted the urgent need for updated copyright protection.
The tool, developed by Sony AI, aims to give rights holders, including vulnerable Nigerian artists, the ability to prove unauthorized use of their works and claim a share of the revenue. However, industry experts have warned that the country’s 2023 Copyright Law has “little or nothing” about artificial intelligence, creating a clear enforcement gap.
Developed by Sony AI, this tool works in two ways. When working with AI companies, they directly check the training data for their models. If not, compare your finished tracks to your existing music catalog. Its purpose is to allow rights holders to claim a portion of the proceeds in case of proven misuse.
Also read: Nigeria’s music industry risks billions in royalty losses in copyright tax dispute
Such detection is important in Nigeria, where Afrobeats is a global force. Artists like Fave saw an unauthorized AI choral version of their 2025 song “Intentions” go viral on TikTok under the name Urban Chords. She then released her own version that incorporated AI elements, but many creators lost out on distribution and income without realizing it.
This is a global issue, not just in Nigeria, as most copyright laws are signed and passed before the launch of new AI tools. As of early 2026, the music industry is dealing with a “flood” of AI-generated music (approximately 50,000 or more new tracks every day on some platforms), major labels are seeking compensation for the use of their catalogs, and navigating legal challenges over fraudulent training data.
Record labels (Universal, Sony, and Warner) have filed fierce lawsuits against AI platforms such as Suno and Udio, alleging that training AI models on copyrighted songs without their consent constitutes “mass copyright infringement.”
Joseph Abiagom, former president of Aristokrat Records and current founder and CEO of Run Am Projects, stresses that the Nigerian music ecosystem first needs to fully embrace AI before committing to tools like Sony’s detection system. He describes the current situation as fragmented. In a saturated industry, there is only a small, niche audience that accepts the existence of AI, and an even smaller audience that actively uses AI in music production.
Mr. Abiagomu said that while domestically many are still debating its merits, internationally the debate ended years ago and those who accept it lack clear guidance on its application.
The main law in Nigeria is the Copyright Act, which was signed on March 17, 2023. The law repealed the old copyright law of 2004 and added several updates, but it says little or nothing about artificial intelligence. This law protects copyrighted works created by humans. It is not clear whether using a song to train an AI model is considered fair use or infringement. It also doesn’t explain who owns the music, which is primarily produced by machines.
The Nigerian Copyright Commission (NCC) can seek access to AI systems in cases of suspected infringement, but enforcement remains difficult without a reliable way to prove what the AI has used.
Entertainment and intellectual property lawyer Henry Ejikeoha says music companies can’t wait for the government. “In general, I believe that the first responders to the disadvantages of technology are the people who are primarily affected. Music companies are in the business of making money, so protecting their intellectual property is the solution. If they don’t, they won’t be able to do business.”
Ejikeoha also said Nigeria’s regulatory bodies have been slow to catch up with developed countries, citing how long it took the Nigerian government to repeal the 1988 Copyright Act, which it just signed into law in 2023.
“I always see more private institutions looking for ways to work on AI and making legitimate uses of AI in the music industry, just to make sure they don’t lose money and make sure people don’t reap profits they didn’t sow. “If you’re a publisher, a composer or a record label and you’re waiting for government support to find AI tools to combat this problem, you might be out of business before the government comes to your rescue,” Ejikeoha said.
Ejikeoha added that while current law already prohibits illegal use of copyrighted material, the real barrier is detection. “With that foundation in place, anyone looking to use AI illegally can always be nailed down with one or two sections of the law. There’s no question about that, because everything still borders on illegal use of copyrighted works.”
He believes tools like Sony’s AI could quickly close that detection gap. Labels and publishers can use these now while waiting for new rules. This private sector approach is already underway in other countries, he says.
Nigerian music analyst Excel Ume sees Sony’s development as a sign that major companies are paying attention to Nigeria, but remains skeptical about its level of effectiveness in the Afrobeats space.
“My first thought is that this is a positive sign. It shows that major labels like Sony Music Entertainment are paying attention to the Nigerian market and investing in infrastructure. “I still have concerns about how effective it will be in the digital sector. We already have serious metadata issues in this part of the world, and without proper education and enforcement around credit and data entry, implementation could be difficult,” Ume said.
Ume appealed to DSPs like Spotify, Apple Music, and Tidal to implement stronger AI detection and authentication systems before approving uploads. It added that AI-generated content needs to be clearly labeled and ownership verified more closely.
The NCC already has the power to inspect databases and request information from AI creators in case of suspected breaches. Experts suggest the commission could go further. It has suggested it may test a Sony-style detection system on Nigerian catalogues, set standards for local developers to build similar tools, or partner with international companies to scan Afrobeats works. Such measures do not require a complete rewriting of the law.
Local tools may also appear. Nigerian tech companies and universities could adapt their methods to focus on the Afrobeat rhythms, pidgin vocals, and highlife samples that global AI models often collect from public platforms.
To compete globally, Aviagum has identified the core fundamentals that Nigeria must first resolve. He called for licensed African music datasets to train local or adapted AI models, noting that while major players such as Sony, Suno and Audioo rely on licensed catalogues, much of the Nigerian scene still operates informally, saying “most things still operate on vibes”.
Also read: Is AI using Afrobeat lyrics without the artist’s permission?
He emphasized the need for deep AI technology startups focused on royalty tracking, prediction, and related systems, along with increased availability of capital to facilitate rapid development.
If we don’t take action, inequality will widen. AI companies based outside Nigeria train with a vast library of Nigerian hit songs. Although the resulting tracks make money on global platforms, the original creators see little or no profit from the music so produced.
Streaming services sometimes fail to catch AI uploads that mimic real songs, negatively impacting both revenue and data accuracy. For example, Stromae’s “Papaotai”, which had an AI version popularized during AFCON in 2026, said that it is unlikely that an artist would receive royalties directly from an AI-generated cover of their song, even though the original song is a copyrighted work.
Sony has its own operations in Lagos through Sony Music West Africa and Sony Music Publishing Nigeria. With artists such as Davido (signed to RCA Records since 2016), Wizkid, Tems, Lojay, 1da Banton, Odeal, and most recently highlife legends Bright Chimezie and Ric Hassani, the company’s global reach lends weight to calls for a local response.
If the NCC adopts or encourages matching technology, it could provide Nigerian artists with the same tools that major labels currently have. For now, the message is clear. Detection technology exists. Nigerian law provides the basis for acting on what is discovered. What the committee, the Senate, and the industry itself lack is speed. Creators who wait for perfect legislation risk losing their position in a market that moves faster than regulators.
