Veteran Nigerian folk musician Beautiful Nubia (Segun Akinlolu) has publicly accused prominent gospel artists Yinka Ayefele and BBO of lifting the melody of his 2001 classic track “Seven Lifes” without credit.
In a post on X on February 19, 2026, the Roots Renaissance Band founder 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?”
The post quickly went viral, drawing hundreds of likes, reposts, and dozens of comments in a matter of hours.
“Seven Lifes”, released on the album What a Feeling! in the early 2000s, is one of Beautiful Nubia’s most enduring works. The song blends Yoruba lyrics with rich instrumentation and philosophical undertones, celebrating African resilience, survival, and spiritual strength. Its folk-infused style has influenced generations of Nigerian musicians.
The current controversy focuses on two gospel tracks. Yinka Ayefele’s “Igbagbo Ireti” (My Faith in God, 2012) has long drawn attention for melodic similarities to “Seven Lifes,” with many describing it as a gospel reinterpretation of Nubia’s classic. The more recent BBO release, “Amin” (2026), sparked Nubia’s public statement. X users highlighted what they called a “glaring” resemblance, with some joking that they could almost sing Nubia’s lyrics over BBO’s track. Streaming algorithms even queue the two songs together in certain searches, amplifying the perceived connection.
Fans on X have rallied behind Beautiful Nubia, expressing frustration over uncredited borrowing in Nigerian music. Many urged legal action, praising Nubia as a legend whose work should not be disrespected. Others referenced Ayefele’s past controversies, including alleged heavy sampling of late highlife legend Orlando Owoh across an entire album. A minority of commenters argued that the similarities are exaggerated or fall under artistic inspiration, noting that musical ideas are often recycled.
This incident underscores ongoing challenges in Nigeria’s music industry, including weak protection for older compositions, the fine line between homage, interpolation, sampling, and plagiarism; especially in gospel music borrowing folk melodies and social media’s growing role in giving veteran artists a direct platform to call out perceived theft.
Ironically, “Seven Lifes” is now experiencing renewed attention in 2026, thanks to the tracks accused of borrowing from it. Whether this dispute leads to legal action, public apologies, or sparks broader industry reform remains to be seen.