Burna Boy’s masters sit in a company he controls outright, and the UK register shows it in plain figures. Spaceship Incorporated Limited, the entity named on his phonogram credits since at least 2018, has one active person with significant control: Damini Ebunoluwa Ogulu, the artist himself, holding 75 per cent or more of the shares, 75 per cent or more of the voting rights, and the right to appoint or remove directors. A second company, Spaceship Publishing Limited, is controlled jointly by him and his mother and manager, Bose Ogulu. A third, formed in 2024 for his film work, follows the same pattern as the first. No major label, no distributor and no outside investor holds a share, a vote or a board seat in any of them.
A question this desk had already flagged as open#
This desk’s own directory record on Spaceship Entertainment has carried a specific admission since it was last verified in August: no public filing naming Spaceship’s shareholders or its precise incorporation jurisdiction had been located. The credit line itself was not in doubt. Apple’s own catalogue metadata for No Sign of Weakness, released in 2025, names the rights-holding entity as “Spaceship Incorporated Limited, under exclusive license to Bad Habit and Atlantic Recording Corporation for the world excluding Africa.” Earlier releases carry earlier forms of the same formula, back to plain “Spaceship Entertainment” on the releases that preceded his 2017 signing to Atlantic. What none of it settled was who actually sat behind the word “Spaceship.”
The company is not Nigerian. It is British. Spaceship Incorporated Limited is incorporated in England and Wales, and English companies are required to file their ownership publicly, in a way Nigerian companies are not required to and Nigeria’s Corporate Affairs Commission does not currently let the public check. The record has been sitting on Companies House since the week the company was formed.
What the register shows#
Spaceship Incorporated Limited is company number 10985501, incorporated 28 September 2017, status Active, registered office 101 New Cavendish Street, 1st Floor South, London. Its listed activity is SIC code 90030, artistic creation. It has one active person with significant control and zero active statements, meaning the company has never had to declare that it cannot identify anyone with significant control, the declaration that opaque or offshore-held companies often have to file instead of a name.
The person named is Damini Ebunoluwa Ogulu, Nigerian, resident in Nigeria, notified the day the company was incorporated. Three separate natures of control are recorded against him: ownership of shares of 75 per cent or more, ownership of voting rights of 75 per cent or more, and the right to appoint or remove directors. The 75 per cent threshold on voting rights is not an arbitrary cutoff. It is the level at which a shareholder can pass a special resolution alone, the kind of vote needed to rewrite a company’s articles, change its name or wind it up. Combined with the right to hire and fire the board, it describes a company where one person’s agreement is sufficient for anything that matters and nobody else’s agreement is necessary for most of it.
Two directors are recorded, both appointed the day the company was formed and neither ever resigned: Ogulu himself, and Bosede Ogulu, Nigerian, resident in Nigeria, born November 1967. Companies House publishes only the month and year of birth, never the full date, and the correspondence with the publicly reported Bose Ogulu, born 19 November 1967, Burna Boy’s mother and long-serving manager, rests on an exact name and birth-month match plus consistent nationality. That is strong. It is not proof.
A second company, split differently#
Publishing sits in a separate company with a different ownership split. Spaceship Publishing Limited, company number 12494054, was incorporated on 3 March 2020 at the same registered office. Its register does not show one controlling person. It shows two, notified the same day, each recorded at the same band: ownership of shares of more than 25 per cent but not more than 50 per cent, and the same band on voting rights. One is Damini Ebunoluwa Ogulu again, this time recorded as resident in the United Kingdom rather than Nigeria. The other is Bosede Ohiomenuan Ogulu, resident in Nigeria, born November 1967, the same person named on the Incorporated Limited filing. Both had their identities formally verified by an authorised corporate service provider, John Wood Associates Ltd, on 5 February 2026, under the identity-checking regime Companies House has begun rolling out.
Neither PSC on this company holds the right to appoint or remove directors, the one control lever present on the master-rights company but absent here. Ogulu was briefly a director of the publishing company too, appointed on incorporation and resigning eleven days later, on 3 April 2020, while keeping his shareholding throughout. The two people who have run the board since are Bose Ogulu and a second director, Azibaronami Oloigbe Ogulu, appointed the same day the company was formed and holding no ownership stake of her own. The first name is the formal version of Ronami, and the month and year of birth, March 1993, match public reporting of Ronami Ogulu, Burna Boy’s sister and credited co-manager. That is the weakest identification in this piece, resting on a nickname rather than an exact legal name, and is offered as context rather than as established fact.
A third company confirms the pattern rather than complicating it#
In July 2024, a third company appeared at the same address: Spaceship Film Productions Ltd, formed for Ogulu’s move into film and video work. Its register follows the master-rights template exactly: one PSC, Damini Ebunoluwa Ogulu, notified the day of incorporation, at 75 per cent or more of shares and votes plus the right to appoint or remove directors. A second director carrying the same surname holds no PSC interest. Whatever Ogulu builds next under the Spaceship name, the register suggests he is building it the same way he built the first one: wholly owned, wholly controlled.
The umbrella that trade coverage names is not itself a company#
Interviews with Bose Ogulu and profiles of Ronami Ogulu both describe an entity called Spaceship Collective as the holding company sitting above Spaceship Records and Spaceship Publishing. A Companies House search for the exact phrase “Spaceship Collective” returns zero results, and a separate search for “Spaceship Records” also returns zero results. Neither exists as a UK-registered legal entity, current or dissolved. On this evidence, Spaceship Collective is a brand name for a family operation that is, in law, three separately incorporated companies rather than one parent with subsidiaries. Nothing is wrong with that structure. It is simply a different shape than the one implied by calling it a “collective.”
Two other UK companies share the word “Spaceship” and have nothing to do with any of this. Spaceship Group Limited, registered in Cambridge, and Spaceship Investment Limited, registered in Romford, are both property businesses, filed under real-estate SIC codes, with no PSC named Ogulu and no address connection to 101 New Cavendish Street. Anyone repeating this research should be careful not to pull the wrong company off a search results page.
What this means for artists#
Artists are routinely advised to set up their own company to hold their masters rather than sign a straight deal with a label. This register shows what that looks like eight years in, when it works as intended. One person holds three-quarters of the votes in the company that owns the recordings. A major distributes those recordings under a licence that excludes his home continent, but holds no equity in the company doing the licensing. The publishing side is split with a family member rather than an outside investor, and even that split gives neither party the unilateral board control the master-rights company gives him alone.
That is meaningfully different from an artist who has signed rights directly into a label’s own corporate entity, where the artist typically appears nowhere on any ownership register. Here, the artist’s name is the one on the filing. A dispute, a renegotiation or a future sale of the catalogue runs through a company he controls, not one he would have to sue his way into.
It also illustrates the limits of that protection. Companies House does not verify what is filed with it; it publishes what companies say about themselves. And a UK holding structure controlled by one family is legible to anyone who checks it, in a way that a Nigerian-side operating structure currently is not, because Nigeria’s Corporate Affairs Commission offers no equivalent public search. Everything this piece establishes is about the company that touches the international licence. What sits underneath it in Nigeria, if anything does, is not something this desk could check.
Limits of this record. Every corporate fact above was read directly from the Companies House public register for company numbers 10985501, 12494054 and 15852671 on 17 September 2026, from each company’s profile, persons-with-significant-control page, officers page, filing history and charges page. No filed accounts or PSC forms could be retrieved as documents, because the registry’s document links redirect to presigned URLs that expire in under a minute; filings are cited only for their form type and date, both shown on the public filing-history pages. None of the three companies has ever recorded a charge or mortgage. Nigeria’s Corporate Affairs Commission has no public free-text search tool available to this desk, so no Nigerian-side corporate check was possible. No consideration, valuation or catalogue value is disclosed anywhere in these filings, and none is stated here.
