Tope Salami, the lawyer who writes Nigeria’s hits (Interview)

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The entertainment lawyer and songwriter behind Asake, Victony and Barry Jhay talks label disputes, ghostwriting, royalties and mental health.

Tope Salami occupies an unusual position in Nigerian music. An entertainment lawyer by training, he appears in court by day and writes songs by night. Over more than a decade, he has contributed to the sound of Asake, Victony, BNXN and Barry Jhay, and he has managed and consulted for artists and estates including D’banj, King Sunny Adé and the late Barrister.

He also runs platforms for music publishing, royalty administration and creative welfare. Much of his songwriting remains subject to a non-disclosure agreement. Whilst the artists attract the public attention, Salami works largely behind the scenes. In this interview, he discusses disputes between labels and artists, the craft of songwriting, payment for creatives and the state of mental health in Nigeria.

Richardine: As I am sure you are aware of what’s been going on in the music business, including accusations against people like Joy Tongo (former label to Qing Madi), Adasa Cookey (Squareball Entertainment, former label to 1da Banton), and Shallipopi and Seyi Vibez against Dvpper Digital. As an entertainment lawyer, would you say what’s alleged is simply the status quo? From your professional expertise, how would you handle those allegations?

Tope: The above is a great indictment to the corporate and legal framework of the creative Industry as a whole. The business and operational part of the creative.

Generally; from the professional angle; it is best for contracts between parties to be clear; including governing laws which would naturally make enforcement of breaches easier and faster for the victim.

Personally, I would have handled those allegations differently as I believe in the power of mediation. Firstly, it is best to even streamline what the problems are and narrow it down to a conclusive end.

However, if that seems really hard, then the law would take its full course which would include and not limited to a full take down effect and making sure that every penny is well accounted for. But generally, these battles are indictments on the general structure of things within the industry.

Richardine: Do you wear the wig to court?

Tope: Sure, I do wear wig to court.

Richardine: You do quite a lot and have been tied to prominent artists for your songwriting abilities on the scene (Asake, BNXN, Barry Jhay; Victony, Teni and more). Which role weighs the most to you? What do you enjoy most and why? How many years have you dedicated to the industry? How do you compartmentalise? Have you achieved family/life balance yet?

Tope: My role and job as a song writer weighs a lot because you need to be able to express and communicate through your writings in ways that suit the artiste and the fans as well. Different artist with different demands, vibes, sound and also style.

Generally, I enjoy playing local percussion and writing relatable songs. Things that the general society can easily grab. Songs that preach about money, love, societal/moral values; essence of life; party bangers; etc. I have been around for over a decade as a ghost and seen song writer.

Taking priorities and knowing it is a job that needs to be done has really helped me in compartmentalising; dedication and knowing I need to do this like my life depends on it has also being so helpful.

It is really hard to achieve family/life balance; but then I am thankful to my partner who understands my essence in life, specifically has it pertains to arts. Generally, I try to be discipline and rest whilst taking vacation with the family too when I can. Also trying to show up for family and friends for as much as I can show up.

Richardine: Who have you managed and consulted for over the years? Do you view what you’ve accomplished as exceptional, or is there always room for improvement?

Tope: I have managed and consulted for a whole lot of creatives over the years; which would include also managing myself; the legendary Dbanj; the legendary King Sunny Ade ‘KSA’; the estates of the legendary and Fuji music creator called Barrister; the estates of the legendary IK Dairo; Ozedikus, Killertunes, Dera, BlaiseBeatz; Barry Jhay; RewardBeatz; Chokeboi; Kiddcarder; Hotkeed; Kent; Paulplay; ID Cabasa; Sassy Afrosh, Liya; whilst I have also consulted for various other domestic and international creative companies.

I feel what I have accomplished as being exceptional, specifically as a song writer to chart topping songs; however I beleive there are rooms for improvement as I believe in getting proper world recognitions on stages such as GRAMMY and others.

Richardine: How would you describe yourself as a songwriter and ghostwriter? Is it public knowledge who you’ve ghostwritten for?

Tope: The ghost writing part comes with an NDA; hence I may not be able to say much about that; but then just know I have written songs the entire world dance too today. I have also written songs that has gone to GRAMMY several times, either as singles or albums. Of course; within the industry; the ghost writing part may not strictly be a new thing.

Myself as a song writer is that I am equal to none. My pen game is so different from others; being the fact that I play some instruments and understand what melody is. before writing any song; I usually make sure I have a clear mind and goal; so as not to make any of the processes difficult.

Richardine: Have you been responsible for anyone’s consistent sound? If so, who and what was their sound before you started working with them?

Tope: I have been consistent to the sound of several persons. Firstly the sound of a producer called Rewardbeatz due to the fact that there are several times I chip in my expertise about the market and what the general market currently looks for as sellable products.

The current sound of Asake, in the album called ‘M$NEY’; Victony on the song called ‘Everything’ and now to the current song called ‘Pino’ featuring Babyboy AV. I have specifically helped in maintaining the sound of one of the best vocalist in Africa; called Barry Jhay.

The sound of these people before were not bad, but it lacked the general appeal of various domestic and international scenes and felt it would be hard for the sound to travel as far as it should naturally do.

Richardine: Talk to me about your advocacy. How are you changing lives? Approximately how many lives have you affected through your work? Do you have a name for your advocacy work or philanthropy work?

Tope: Music is life to me and the essence of my song writing and myself being a creative is to positively affect as much lives as I can. Directly through contacts or indirectly through my songs and other relatable stuff attributable to them.

The number of lives I have positively changed are enomous; and it is reflected through various testimonies on various platforms.

For my advocacy and philanthropy works; I get them done through some of my various platforms such as Root Music; DYDX Hub; Creative yard. All these are basically to give back to the society in various forms; such as making sure that the mental health of creatives at all time is in a proper shape; also advocating other methods of success for creatives by preaching to them that it takes more than talent to succeed in the creative industry; whilst we also have a scheme that take care of autistic children through royalties of music released through the artistic side of me called root music.

Richardine: In great detail, explain how you’ve assisted with payment for creatives. Did you help because there is a lack of infrastructure? What is your cut? How do you measure the worth of someone else’s creations?

Tope: I have assisted creatives in ensuring proper payment is made to them through my music publishing company and general royalty company whose platform ensure timely payment and generation of simplied royalty reports to various song writers.

The above was as a result of proper structure and infrastructure within the creative space and for works done through the company; certain percentages are retained as professional services rendered. The worth of someone’s creation is in line with the level of contribution and as specified in the split sheet.

Richardine: How would you describe the general mental health of the people in Nigeria? How are Nigerians in Nigeria doing? Explain this in a way that someone who is not from there or has never been there would understand.

Tope: The mental health of people in Nigeria is not as bad as compared to the western world. Statistic is clearly show the disturbing rate of mental illness in Nigerians but then; some of us have been trying to solve these issues because it has been traced that drug abuse is one of the major serious factors contributing to this menace and we have all been calling for several supports for good rehab and general enforcement and legal framework towards combating the sales of these triggering factors.

The economy; lifestyle; and every societal factor largely messes the system up; thereby creating several mode of mental health crisis.

Richardine: How is your mental health?

Tope: My mental health is fair due to the fact that I am aware of factors that may likely trigger it. I eat well and try to leave heathy as well.

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