NotJustOk is currently one of the most influential music platforms in Nigeria. The platform was founded in 2006 by blogger Ademola Ogundele as a music download site with very little editorial save for reviews and occasional listicles. Its model has not only influenced a series of copycat music download sites, it is also quoted to be responsible for the rise of third generation Nigerian artists who blew up in the late noughties.

Admittedly, some of these claims to their role in Nigeria’s music culture can be put to a series of provable arguments, including a long line of rappers who have released diss tracks or referenced their often controversial lists on a verse or two. However, we’re a few years into the battle against internet piracy and the proliferation of platforms like NotJustOk who encourage artists to use their platforms to reach fans, then give out the music for free, reminds us a feasible end may require some work.

It is noteworthy however to mention that the reason artists give out free music in the first place is because of increased reach and chances for virality. The lack of sustainability for this model however is evident in the low longevity due to the rapid rate at which artists need to keep putting out music in hopes that at least one would catch airplay fire. This is not only exhausting for low level independent artists who have to factor in the cost of production and promotion without any revenue points, it also sets the bar for quality at commercial value instead of sound.

To end the menace of free music, artists and their teams need to be better educated on how to protect their intellectual properties by using the appropriate copyright tools. DMCA (Digital Millennium Copyright Act) protection allows online servers map tempos and patterns that can be used to identify songs uploaded unofficially. Sure it may cost a few extra bucks to make sure servers can identify the song, but this is a one size fits all solution to curb illegal uploads and downloads.

No doubt this still leaves the problem of reach unsolved, the trick around that however, is for artists to double up on social media promotions while limiting access to their music to easily accessible streaming platforms like YouTube or SoundCloud. This way, fans will be allowed to stream the music on the platform, but won’t be allowed to download. Monetization can come along the way, depending on the performance of the releases on these streaming platforms. SoundCloud for examples allows artists take their music off free use, leaving only a snippet for the listener to try then decide if they want to get the full song.

Internet piracy has remained one of the longest standing thorns in the flesh of media creators of the digital age. But it would take artists making moves for themselves to end their dependency on free music download sites before we can begin to have new discussions around distribution systems that will ensure revenue and progress for the culture.

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