Gospel singer Goke Bajowa warns Boye Best of legal action

Veteran gospel singer Prince Goke Bajowa has issued a formal warning to fellow artist Boye Best, alleging repeated unauthorised use of Bajowa’s composition “Iwo Ko Lodami.” In an Instagram video posted on Sunday, Bajowa stated that Best has performed the song at numerous live events and on various platforms without giving proper credit, prompting the veteran singer to consider legal action if the practice continues.

According to Bajowa, the repeated performances constitute a breach of copyright and mislead audiences into believing that Best holds ownership or exclusive rights to the work. “It is both misleading and unfair to present it in a way that suggests ownership or exclusive rights, especially when you have evidently benefited from its widespread use,” he said in the video.

Bajowa’s statement also referenced prior communications in which he reportedly informed Best that he did not possess the rights to the song. Despite that notice, Bajawa claimed that Best has persisted in performing “Iwo Ko Lodami” across multiple venues and digital platforms. “This is a final warning to you, Boye Best @boyebest. You have continued to use my song indiscriminately across multiple platforms and events, despite earlier communication making it clear that you do not own the rights to this work,” the singer warned.

The veteran artist clarified that while no legal impediment currently prevents Best from performing the piece, any future use must include an explicit acknowledgment of Bajowa as the original creator. “Going forward, you must properly acknowledge the original owner, Goke Bajowa, in every use of the song. Failure to do so will leave no choice but to pursue appropriate actions to protect the integrity and ownership of the work,” he added.

Copyright law in Ghana, where both musicians are based, provides creators exclusive rights to reproduce, distribute and publicly perform their works. Infringement can result in civil remedies, including damages and injunctions, as well as criminal penalties in severe cases. Industry observers note that disputes over song ownership are not uncommon in the gospel music scene, where collaborative performances and informal licensing arrangements sometimes blur the lines of entitlement.

Bajowa’s public appeal underscores the growing reliance on social media to address intellectual‑property grievances in the African music industry. By issuing a clear notice on a widely followed platform, he aims to compel compliance without immediate recourse to the courts. Whether Best will amend his performances to include proper attribution remains to be seen.

The matter highlights the importance of clear licensing agreements and consistent crediting practices among Ghanaian artists. As the dispute unfolds, it may set a precedent for how copyright disputes are managed within the region’s rapidly expanding gospel music market.