The Nigerian superstar's revelation offers a fascinating insight into music sampling, copyright ownership and the economics of the global music industry, where a successful hit can generate substantial revenue for artists whose original work helped create it.
The global success of Afrobeats has created unprecedented opportunities for African musicians to reach international audiences. However, behind some of the industry's biggest records are complicated commercial arrangements involving copyright ownership, music licensing and royalty distribution.
Nigerian Grammy-winning singer Burna Boy has brought this reality into focus after revealing that American R&B singer Toni Braxton receives 60 per cent of the streaming royalties from his internationally successful single, 'Last Last'.
The revelation has reignited conversations about the financial implications of sampling established recordings and how copyright agreements can influence the earnings of commercially successful songs.
Despite the substantial share allocated to Braxton, Burna Boy has indicated that he has no regrets about the arrangement. In fact, the commercial success of the record demonstrates why artists sometimes consider giving up a significant percentage of royalties a worthwhile investment.
The Toni Braxton Connection
At the centre of the arrangement is Toni Braxton's 2000 hit, 'He Wasn't Man Enough', released on her third studio album, The Heat.
The original record became one of the defining songs of Braxton's career, earning her the 2001 Grammy Award for Best Female R&B Vocal Performance.
More than two decades later, Burna Boy introduced elements of the recording to a new generation through 'Last Last', released in May 2022.
The Nigerian singer revealed that using the sample was an idea he had considered for some time before producer Chopstix helped transform it into a commercially successful Afrobeats production.
The resulting record combined familiar elements of American R&B with Burna Boy's distinctive Afrofusion sound.
Its international success demonstrated the commercial possibilities of combining established musical influences with contemporary African production.
Why Toni Braxton Gets 60 Per Cent
The arrangement highlights an important aspect of the modern music business: incorporating an existing recording into a new commercial release can involve substantial copyright obligations.
Sampling is not simply a creative decision. It is also a legal and financial transaction.
When an artist uses protected material from an existing recording, permission generally has to be obtained from the relevant copyright owners.
Two important categories of rights are involved:
Master recording rights: These relate to the original recorded performance and are generally controlled by a record label or another master-rights owner.
Musical composition rights: These cover the underlying songwriting, including the melody and lyrics, and may belong to songwriters, publishers or other rights holders.
Depending on the agreement, the parties can negotiate ownership interests, licensing fees, royalty percentages and other commercial terms.
Consequently, the reported 60 per cent arrangement should not automatically be interpreted as Toni Braxton personally receiving the entire amount. Other rights holders and contractual arrangements may determine how the proceeds are distributed.
It is also important to distinguish streaming royalties from other sources of income. Music generates revenue through live performances, commercial licensing, publishing, radio airplay and other uses.
The 60 per cent figure relates to the streaming royalty arrangement discussed by Burna Boy, rather than necessarily representing 60 per cent of every revenue stream associated with the record.
A Commercial Decision That Paid Off
Perhaps the most interesting aspect of Burna Boy's revelation is that he does not consider the royalty arrangement a financial mistake.
During an earlier interview in 2022, he explained that 'Last Last' had generated more money for him than any other song in his career at that point.
That statement illustrates an important principle of the music industry: retaining 100 per cent ownership of a song does not necessarily produce greater earnings than accepting a smaller share of a commercially successful record.
A song's financial value depends on several factors, including audience reach, streaming numbers, longevity, licensing opportunities and international distribution.
An artist who retains a smaller percentage of a global hit can potentially earn more than one who owns an entire recording that attracts limited commercial attention.
For Burna Boy, the decision to incorporate Braxton's work helped produce one of the most recognisable records in his international catalogue.
The commercial outcome also demonstrates how established intellectual property can acquire renewed value when introduced to different audiences and musical markets.
What This Means for African Musicians
The revelation carries important implications for Africa's growing music industry.
Afrobeats has evolved from a predominantly regional musical movement into a global commercial industry, attracting international record labels, streaming platforms, publishers, promoters and investors.
However, international expansion also exposes African musicians to increasingly complicated copyright and licensing arrangements.
Sampling established Western recordings can provide creative opportunities and help artists connect with wider audiences. But those decisions can also affect ownership rights and future earnings.
Emerging musicians, in particular, need to understand the financial implications of sampling, publishing agreements, master ownership and royalty splits before releasing commercially ambitious records.
A song becoming viral does not automatically mean its creator owns all the revenue it generates.
This is why copyright education and professional music-business representation are becoming increasingly important for African artists seeking to compete internationally.
The industry must move beyond celebrating streaming milestones and examine how the commercial value of African music is distributed among artists, producers, publishers, record labels and other rights holders.
When Music Crosses Generations and Markets
There is also a cultural dimension to the success of 'Last Last'.
A song released in 2000 found renewed commercial relevance through an Afrobeats record released more than two decades later.
Braxton's original recording reached another generation of listeners, while Burna Boy used its musical foundation to create a record that travelled across international markets.
It demonstrates how intellectual property can generate value across different generations, cultures and geographical boundaries.
For Braxton and the relevant rights holders, the arrangement provides an ongoing financial interest in a major Afrobeats hit. For Burna Boy, it represents a creative decision that contributed to the international success of his catalogue.
The relationship between the two records also illustrates why copyright ownership is one of the most important commercial considerations in the modern music industry.
The Real Lesson Behind 'Last Last'
Burna Boy's revelation offers a lesson that extends beyond one song or one royalty agreement.
The global music industry rewards creativity, but it is also structured around ownership, licensing and contractual negotiations.
African musicians are increasingly creating records with international commercial appeal. To capture more of the economic value generated by that success, they must understand not only how to produce hit songs but also how to negotiate the rights attached to them.
The success of 'Last Last' shows that sampling can be commercially worthwhile, even when it requires sharing a substantial portion of streaming revenue.
Ultimately, the record represents more than a successful musical collaboration across generations. It is an illustration of how intellectual property shapes the economics of global entertainment.
Burna Boy created the Afrobeats hit, but Toni Braxton's original recording helped provide part of its musical foundation. Their royalty arrangement demonstrates a fundamental reality of the music business: a hit song can belong commercially to a much wider network of creators and rights holders than the artist whose voice dominates the recording.
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