The Lagos State Police Command said it apprehended the well-known musician Habeeb Okikiola, also known as Portable, on Tuesday for failing to pay off a debt incurred from the purchase of a G-Wagon from a local car seller in the state.

Portable is accused of possessing a vehicle worth N27 million after paying only N13 million and failing to pay the remaining balance of N14 million.

Benjamin Hundeyin, the State Police Public Relations Officer, confirmed that Portable was apprehended.

“Yes, Portable was arrested. He purchased a G-Wagon for N27 million, paid N13 million, and refused to pay the balance, claiming the vehicle was defective. “We arrested him today,” he explained.

David Adeleke, also known as Davido, has announced his retirement from music after releasing his next album.

On Thursday night, the ‘Unavailable’ crooner responded to some blogs’ doctored images and videos about him.

He claimed that some people desperately want him out of the music business.

“You niggas want me out of the game that bad? Oya, after the next album, I am done. So una fit get peace,” he wrote on his X handle.

Yall niggas want me out of the game that bad ?? Oya after the next album I will not do it again. So una fit get peace.

Davido recently stated that since joining the industry, most of his colleagues have not had peace of mind.

This is coming a few hours after dropping Kante’s visuals to wrap up the era of his fourth studio album titled ‘Timeless.’

Davido wraps up the Timeless era with Kante’s visuals featuring Fave.

“You are not my destiny decider,” Barber claps back to Davido.
‘Kante’ is the tenth track from ‘Timeless’, a Grammy-nominated album released in March 2023.

The singer stated that he is looking forward to a new era of music and milestones.

Davido rose to prominence with his 2012 hit ‘Dami Duro’ for HKN Music.

Davido established his music label, DMW, in April 2016.

The label has housed musicians such as Mayorkun, Peruzzi, and Dremo, among others.

In March, Davido rebranded his label as DMW 2.0 and introduced two new artists: Morravey and Logos Olori.

Last year, Davido received his first Grammy Award nomination in three categories, including ‘Best Global Album’ for his most recent album, ‘Timeless.

Other awards included ‘Best African Performance’ for his song ‘Unavailable’ and ‘Best Global Music Performance’ for his track ‘Feel.

He also lost ‘Best Global Music Performance’ to ‘Pashto’ by Béla Fleck, Edgar Meyer, and Zakir Hussain Featuring Rakesh Chaurasia, as well as ‘Best Global Album’ to Shakti’s ‘The Moment.

By ISAAC ASABOR

In the heart of Nigeria’s vibrant music scene, two stars shine with a light so bright, they cast both illumination and shadow. Davido and Wizkid, the twin pillars of Afrobeat, have long been pitted against each other, not just by the media and industry but by their legions of fans. Their rivalry has become a staple conversation in Nigerian entertainment, often overshadowing the artistry and message their music carries.

The story of Davido and Wizkid is one of parallel paths. Both rose to fame in the early 2010s, capturing the hearts of millions with their unique sounds and styles. Davido, with his energetic beats and catchy hooks, and Wizkid, with his smooth melodies and international collaborations, have both contributed significantly to putting Afrobeat on the global map.

The rivalry, however, seems to be more of a fan base creation than a personal vendetta. Social media platforms have become battlegrounds where “Wizkid FC” and “30BG gang” clash in fierce debates over who is the true king of Afrobeat. This division has led to a discordant note in the otherwise harmonious Nigerian music industry.

While competition can drive artists to push their creative boundaries, the question arises: does this rivalry benefit the genre? Afrobeat is celebrated for its ability to unite listeners across different backgrounds, telling stories of love, hardship, and triumph. The focus on rivalry can detract from the music’s core values and its power to inspire and bring people together.

Unfortunately, recent social media spats between the two artists have further fueled the rivalry, with fans picking sides and engaging in verbal battles online. Without a doubt, these incidents can create a charged atmosphere that, while not directly linked to gangsterism, does raise concerns about the potential for escalating tensions.

In fact, the rivalry has become a cultural phenomenon, reflecting complexities within fan base identity and the evolving landscape of African music. While some argue that the competition drives the artists to greater heights, others worry it could perpetuate division within the industry.

Without a doubt, there are broader concerns about the impact of intense rivalries and fan base divisions on the music industry. Some industry observers have expressed worries about the potential stifling of other musical genres in Africa due to the dominance of Afrobeats and the intense focus on a few top artists

Given the fear or rather worries that the popularity crisis between the duo is stirring among their fan bases, it is admonitory to note that while the rivalry between them has certainly intensified over the years, there is no direct evidence to suggest that it has fueled gangsterism within the Afrobeat genre. However, the passionate and sometimes aggressive nature of their fan bases, coupled with the artists’ public disputes, does highlight the need for responsible fandom and artist behaviour to maintain a positive and inclusive music industry environment.  The industry needs to foster a culture that celebrates diversity and discourages any form of violence or division.

As Afrobeat continues to gain international acclaim, artists and fans alike must remember the roots of the genre. Afrobeat was born out of a need for expression and unity during times of political and social unrest. The legacy of its founder, Fela Kuti, was not one of division but of collective resistance and celebration.

Admonishingly put, Davido and Wizkid’s rivalry, while it is a testament to their influence, should not be the defining narrative of Afrobeat. It is time to shift the focus back to the music and its message. Let us celebrate the diversity and talent within the genre and remember that every bird, no matter how high it flies, shares the same sky. And in the vast expanse of Nigeria’s Afrobeat music, there is more than enough room for every artist to soar.