Waje Reveals Uncredited Vocals on P-Square’s ‘Do Me’: Earned Nothing from the Mega Hit

Introduction

Did you know that Nigerian music icon Waje provided the iconic female vocals on P-Square’s chart-topping hit “Do Me” from their 2007 album Game Over? In a recent candid interview on The Honest Bunch Podcast, Waje disclosed she received no payment or royalties despite the track’s massive success across West Africa. This revelation sheds light on the harsh realities faced by session vocalists in the music industry, particularly for emerging artists lacking business savvy.

Explore Waje’s early career struggles, the “Do Me” controversy, and essential lessons on music royalties, contracts, and credits. This article breaks down her story pedagogically, offering insights for aspiring singers on avoiding common pitfalls in Nigeria’s vibrant Afrobeats scene.

Analysis

Waje’s Early Career Journey

Aituaje Aina Vivian Ebele Iruobe, professionally known as Waje, began her music path as a church singer from eastern Nigeria. As a teenager, she signed with a small record label, balancing motherhood, church performances, and on-the-job learning in the studio. This period marked her transition from gospel roots to secular Afrobeats collaborations.

Waje’s story exemplifies how raw talent often propels young artists into high-profile projects before they master industry mechanics like royalty collection or contract negotiation.

The ‘Do Me’ Collaboration: Uncredited and Unpaid

P-Square’s “Do Me,” released on the 2007 album Game Over, became a continental anthem. Waje confirmed she recorded the female vocals, now retroactively credited on platforms like Spotify and Apple Music. However, at the time of recording, she received no on-screen credit or financial compensation.

During the podcast, Waje explained that the song’s explosion caught her off-guard. Relying on her label without understanding royalties or publishing rights meant any earnings bypassed her entirely. She summed it up bluntly: “I didn’t make any money.”

Broader Context in Nigerian Music Industry

This incident highlights systemic issues for session vocalists—backup singers or feature artists who contribute to hits but fade into the background. In Nigeria’s music ecosystem, where Afrobeats dominates global charts, early-career artists often prioritize exposure over ironclad deals, leading to lost revenue streams like mechanical royalties, performance royalties, and sync fees.

Summary

In summary, Waje’s podcast revelations detail her uncredited role on P-Square’s “Do Me,” her lack of royalties due to inexperience, and pivotal career moments like freestyling her hit “I Wish” in P-Square’s home studio. Despite missing the music video shoot abroad due to lacking a passport, she emphasizes mentorship from peers and the critical need for business education in music.

Key Points

Practical Advice

Master Contracts Before Signing

Aspiring vocalists like Waje should always review contracts with a lawyer. Insist on clear clauses for credits (e.g., liner notes, streaming metadata), royalty splits (typically 50/50 for features), and advances. Use templates from organizations like the Nigerian Music Industry Association.

Register for Royalties Early

Join collecting societies such as COSON (Copyright Society of Nigeria) or MCSN for performance royalties. Internationally, register with BMI, ASCAP, or PRS for global streams. Track your contributions via ISRC codes on tracks like “Do Me.”

Build a Personal Brand

Document sessions via social media or NDAs. Negotiate co-writing credits if you improvise, as Waje did with “I Wish.” Network for mentorship but prioritize equity in deals.

Leverage Streaming Era Tools

Use DistroKid or TuneCore for independent releases. Audit past works on Spotify for Artists to claim uncredited features and back-royalties.

Points of Caution

Avoid Verbal Agreements

Never rely solely on trust, as Waje did with her label. Verbal promises evaporate when hits succeed.

Understand Royalty Streams

Mechanical (downloads), performance (radio/plays), and sync (ads/TV) royalties compound. Unregistered artists forfeit 100%.

Passport and Logistics Hurdles

Like Waje missing the “Do Me” video, prepare travel documents early for international opportunities.

Family and Group Dynamics

Waje wisely avoided P-Square disputes; steer clear of internal artist conflicts to protect your reputation.

Comparison

Similar Cases in Afrobeats and Global Music

Waje’s experience mirrors other uncredited contributions. In Nigeria, Omawumi featured on tracks early on without full credits. Globally, Cassie on Diddy’s hits or Adina Howard on 2Pac’s “Baby Don’t Cry” faced similar royalty oversights.

Lessons from Comparisons

Unlike Waje’s amicable reflection, many escalate to lawsuits. Her approach—focusing on growth—preserved relationships in Nigeria’s tight-knit scene.

Legal Implications

In Nigeria, the Copyright Act 2022 governs music rights, mandating fair contracts and royalty distribution via COSON. Uncredited vocals constitute potential breach if not contractually waived. Waje’s case underscores “work-for-hire” pitfalls: session singers may assign rights fully without residuals.

Internationally, Berne Convention ensures moral rights (credit) persist. Artists can retroactively claim via PROs if contributions are verifiable, as with “Do Me” streaming updates. Consult IP lawyers for audits; statutes of limitations vary (3-6 years in Nigeria).

No public lawsuit from Waje, aligning with her non-confrontational stance.

Conclusion

Waje’s untold story behind P-Square’s “Do Me” is a masterclass in resilience. From uncredited session work to stardom with hits like “I Wish,” she transformed setbacks into success. For up-and-coming artists, her message is timeless: Pair talent with knowledge of music royalties, contracts, and branding. In Nigeria’s booming music industry, this balance turns one-off features into lifelong revenue.

Stream “Do Me” today and appreciate Waje’s voice—while learning to protect your own.

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