The Ghanaian gospel music scene has been rocked by a contentious dispute between renowned artist Esther Smith and OFM Computer World, a digital services company, along with its CEO, Dr. Debrich Jeremiah Acheampong. The core of the disagreement revolves around accusations of digital fraud, misappropriation of online platforms, and disputed ownership of music rights and royalties. OFM Computer World claims that Esther Smith owes them over $240,000, representing a 40% share of revenue generated from digital music stores. They assert that a legally binding agreement grants them management control over Smith’s digital presence, including her YouTube channel, and entitles them to this share of the earnings.
The narrative presented by OFM Computer World details their efforts in 2020 to bolster Esther Smith’s online presence by creating the YouTube channel “EstherSmithMusic” to promote her gospel music. According to them, a formal agreement solidified their role in managing the platform and outlined the revenue-sharing structure. However, they allege that Esther Smith unilaterally altered the channel’s password and recovery email, effectively locking them out and seizing control without their consent. This action, they claim, constitutes a breach of contract and justifies their pursuit of financial compensation.
Esther Smith vehemently denies these allegations and offers a starkly different account of the situation. In a public statement released on her X (formerly Twitter) account, she accuses OFM Computer World and its affiliated entity, Debrich Consultancy, of orchestrating a scheme to hijack her digital platforms, encompassing her website and YouTube channel. She further alleges that they employed a dubious music platform, MusicDiffusion, to falsely claim ownership of her songs and divert the associated royalties. Smith’s narrative portrays her as the victim of a calculated attempt to exploit her music and defraud her of her rightful earnings.
Furthermore, Esther Smith reveals that her management team uncovered irregularities concerning the ownership of her songs and the distribution of royalties. This discovery raised serious concerns about potential mismanagement and the possibility of receiving insufficient payments. She asserts that this revelation further solidified her belief that OFM Computer World and Debrich Consultancy were acting in bad faith. The discrepancy between the two accounts underscores the complexity of the dispute and the contrasting perspectives on the nature of their business relationship.
The public airing of these accusations has ignited a legal battle, with both parties vying for control and ownership of Smith’s digital platforms. The legal proceedings will likely delve into the validity of the purported agreement, the circumstances surrounding the changes to the YouTube channel’s access credentials, and the legitimacy of the claims regarding ownership of songs and royalties. The outcome of this legal confrontation will have significant implications for both Esther Smith’s career and the reputation of OFM Computer World.
Beyond the immediate legal ramifications, this dispute serves as a cautionary tale for artists navigating the increasingly complex landscape of digital music distribution. Esther Smith’s public warning to fellow musicians underscores the importance of exercising vigilance and conducting thorough research before entering into partnerships with digital service providers. The case highlights the potential vulnerabilities artists face in the digital realm and the need for clear, transparent agreements to protect their intellectual property and financial interests. The ongoing legal battle will undoubtedly be closely watched by the Ghanaian music industry and beyond, as it raises critical questions about artist rights, digital ownership, and the ethical responsibilities of companies operating in the digital music space.
