Afropop sensation Adekunle Gold has opened up about the unexpected legal and industry hurdles that delayed the release of his fan-favourite single, Coco Money. According to the artist, clearing the song for official release took well over a year, offering a rare glimpse into the less glamorous side of producing global music hits.
In a candid interview recently shared online, Adekunle Gold spoke about the labyrinthine process many Nigerian and African musicians navigate to bring their creative visions to life. Sitting confidently in a stylish brown crocodile-skin jacket and speaking from an Apple Music studio, he put it plainly: “It took over a year to clear Coco Money.” This statement paints a clear picture of the complex, often painstaking process required when incorporating high-profile international elements into local music projects.
To understand why Coco Money took so long to reach listeners, it’s key to look at what happened behind the scenes. The track—officially released on July 18, 2025—features a prominent interpolation of Rihanna’s 2015 global hit, Bitch Better Have My Money. Unlike direct sampling, interpolation occurs when an artist re-records or recreates parts of a song, such as a melody or lyric, instead of taking a piece straight from the original recording. Yet, both processes require navigating a tangled web of copyrights, often involving publishers and songwriters across different countries.
According to Lagos-based music lawyer Tunde Owolabi, clearing rights for such a global hit “is akin to assembling a jigsaw puzzle—one requiring the cooperation of multiple rights owners, consistent negotiations, and, at times, stubborn patience.” For Afrobeats artists like Adekunle Gold, whose creative ambitions increasingly stretch across borders, this legal dance has become an all too familiar part of their journey.
Legal experts say that securing clearance for interpolation can come with its own share of barriers:
- Lengthy Negotiations: Discussions over royalties, usage rights, and credits typically involve numerous parties: songwriters, publishers, and often their legal teams.
- High Costs: Fees for using high-value international hits like Rihanna’s can be significant, stretching local budgets or necessitating financial backing from labels.
- Risk of Delays: Even after negotiations start, paperwork, revisions, and conflicting interests can stall the process—sometimes indefinitely.
As Adekunle Gold explained, Coco Money was ready for the airwaves long before the official drop, but the wheels of international music law move slowly. During this waiting period, fans were left in anticipation, while industry insiders debated whether the delays would dampen the song’s impact upon release.
This challenge is not unique to Nigeria. Across West Africa—especially in music powerhouses like Ghana, Côte d’Ivoire, and Senegal—rising stars find themselves navigating similar legal requirements when seeking global relevance. For example, Ghanaian Afrobeats producer Sammy Fosu noted, “The process can be so daunting, some artists give up or pivot back to original compositions.” This local reality helps explain why many African musicians opt to focus on creating new sounds, which reduces delay and cost while allowing more creative freedom.
Despite these formidable obstacles, Adekunle Gold’s persistence paid off handsomely. Coco Money eventually debuted to wide acclaim, celebrated for its fresh blend of contemporary Afropop rhythms with traditional Yoruba Elegbe street influences. The track has quickly become a cornerstone of his latest album, helping to boost not only his own profile but also the growing reach of African pop culture on the global stage.
Nigerian music analyst Kemi Owoyale recently commented, “It’s encouraging to see artists go the extra mile, even when the legal system drags or the cost skyrockets. Adekunle Gold’s story proves that with resolve and the right backing, our stars can borrow global melodies and still own their narrative.”
Industry professionals point out that successful partnerships—like the one forged through “Coco Money”—may in fact open doors for more seamless collaborations in future. As more African acts gain international attention, publishers and legal professionals are being forced to adapt, sometimes streamlining clearance processes for future projects. According to a report by the International Confederation of Societies of Authors and Composers (CISAC) in 2023, African music’s share of global performance royalties increased by 17% over the previous two years, a sign of growing international awareness and partnership opportunities for African artists.
However, the journey is not without its drawbacks. Many emerging Nigerian talents lack the resources to pursue such costly collaborations. There are concerns that the increased popularity of interpolating international hits places pressure on local originality while simultaneously putting smaller acts at a disadvantage. Industry observers, including Abuja-based talent manager Clara Musa, warn, “Without the right support, talented grassroots artists will be left behind, unable to afford international clearances or lawyers.”
To counter this, there have been calls for more robust legal training and support structures within the West African music industry. Rights management organizations such as the Copyright Society of Nigeria (COSON) and the Ghana Music Rights Organization (GHAMRO) have intensified efforts to educate artists about copyright, royalties, and intellectual property, aiming to empower them to make informed creative choices.
For now, though, Adekunle Gold’s patience and determination stand as a testament to the lengths Nigerian and African creatives go to put local culture on the world map. By blending international elements with uniquely African sounds, artists like him help reframe what it means to be a global star from West Africa. Fans, industry insiders, and legal experts alike are watching closely to see how these shifting dynamics will shape the future of African pop and the next generation of cross-continental hits.
What’s your perspective on the increasing trend of interpolating global hits in Nigerian music—does it help or hinder local originality? How should upcoming artists balance creative ambition and financial realities? Drop your thoughts in the comments, and be sure to follow us for the latest updates on Afropop and international music trends.
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