The Chocolate City star revealed on social media that the forthcoming project is titled “Nomadinho” and is scheduled to arrive in October 2026.

While the rapper has kept details surrounding the project under wraps, the announcement gives fans their first major clue about what he has been working on as the year enters its final quarter.

For now, Blaqbonez is yet to disclose the exact release date, tracklist, or featured artists attached to Nomadinho. Those details are expected to emerge as the rollout gathers momentum ahead of the project’s release.

Known for his distinctive personality, sharp lyricism, and willingness to experiment with his sound, Blaqbonez’s upcoming project could offer another glimpse into the rapper’s evolving creative direction.

With Nomadinho now officially confirmed, attention shifts to the next phase of the rollout as fans await the singles, collaborations, and full tracklist that will complete the picture.

NOMADINHO: 4TH PRIME
OCTOBER 2026 pic.twitter.com/4mYk0OBStp

— FRESH PRINCE (@BlaqBonez) September 21, 2026

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The label, which is home to artists including BlaqBonez, Young Jonn, and M.I Abaga, addressed the allegations in a statement shared on its official X account on Tuesday.

Chocolate City described the claims as false and irresponsible, insisting that the company has operated independently for more than two decades.

The record label specifically denied having any contractual relationship or affiliation with Universal Music Group while also rejecting suggestions that its operations are funded, controlled or directed by a foreign intelligence agency.

According to Chocolate City, its growth has been built around talent development, hard work, and legitimate commercial partnerships rather than external government or intelligence-agency influence.

The company also stressed that the allegations misrepresent the nature of its ownership and business relationships, reaffirming its identity as a Nigerian-owned independent music company.

The statement comes amid wider conversations on social media about the ownership structures and international relationships of African music companies.

Chocolate City has remained one of the notable names in Nigeria’s entertainment industry, playing a role in the careers of several artistes while expanding its activities across different areas of the African creative economy.

In its response, the label said:

“Our attention has been drawn to false claims circulating about Chocolate City Music. For over 20 years, we have built an independent African business through talent, hard work and legitimate commercial partnerships. Any suggestion that Chocolate City Music is funded, controlled or directed by any foreign intelligence agency or state actor is false and irresponsible.

The content in question also contains a fundamental error: Chocolate City Music has never had, and does not have, any contractual relationship or affiliation with Universal Music Group. Chocolate City Music remains wholly Nigerian-owned, proudly independent, and focused on building lasting value for African creatives and the African creative industries.”

Our attention has been drawn to false claims circulating about Chocolate City Music.

For over 20 years, we have built an independent African business through talent, hard work and legitimate commercial partnerships.

Any suggestion that Chocolate City Music is funded, controlled or directed by any foreign intelligence agency or state actor is false and irresponsible.

The content in question also contains a fundamental error: Chocolate City Music has never had, and does not have, any contractual relationship or affiliation with Universal Music Group.

Chocolate City Music remains wholly Nigerian-owned, proudly independent, and focused on building lasting value for African creatives and the African creative industries.

— CHOCOLATE CITY MUSIC (@choccitymusic) September 15, 2026

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After teasing the record across social media, Blaqbonez finally gives fans the full track, arriving with the kind of energy that has helped establish him as one of Nigeria’s most distinctive hip-hop acts.

Produced by P.Prime, BIG PERFORMER rides on a punchy Nigerian hip-hop groove, blending Afrobeats touches with a bouncing low end. The production constantly keeps things moving, giving Blaqbonez plenty of room to switch up his flow and control the pace.

As expected, the rapper has plenty to say. He fills the record with clever punchlines, playful boasts and humorous moments, delivering his bars with a confidence that feels both calculated and effortless. His ability to switch cadences keeps the track unpredictable from one section to the next.

More than just a flex-heavy rap record, BIG PERFORMER is another example of Blaqbonez refusing to follow a predictable formula. He combines technical ability with entertainment, reminding listeners why his personality and performance style remain such a big part of his appeal.

With BIG PERFORMER, Blaqbonez once again proves that he knows exactly how to make rap feel larger than life.

Listen to “Big Performer” HERE

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Below are the nominees for the highly anticipated ceremony, which is scheduled to take place in Canada.

Album of the Year

• Catharsis — Fola
• Clarity of Mind — Omah Lay
• G.O.A.T — Erigga
• Morayo — Wizkid
• The Machine Is Coming — Odumodublvck
• This One Is Personal — Tiwa Savage
• No Sign of Weakness — Burna Boy

Best Rap Single

• 2:02PM in London — Odumodublvck
• ACL — Blaqbonez
• Man2Man — Dremo
• PDSTRN — Moshood
• Nkemakonam — Tuff King
• Wuse Tu — Zaylevelten, Mavo
• John Wick — Zhus Jdo

Song of the Year

• Arike — Kunmie
• Hey Jago — Poco Lee, Shoday & Rahman Jago
• Hot Body — Ayra Starr
• Joy Is Coming — Fido
• MMS — Asake & Wizkid
• With You — Davido & Omah Lay

Afrobeats Single of the Year

• Fun — Rema
• Jogodo — Asake & Wizkid
• Laho — Shallipopi
• With You — Davido & Omah Lay
• You — Fola
• Bundle by Bundle — Burna Boy

Best Performer (Live)

• Adekunle Gold — Live at the National Theatre, Lagos
• Asake — Red Bull Symphonic
• Ayra Starr — Global Citizen Festival 2025
• Johnny Drille — Johnny’s Room Live 6
• Ruger — Live at Indigo at The O2, London (2025)

Best R&B Album

• Before We Became Strangers — Kunmie
• Catharsis — Fola
• Qing Madi — I Am the Blueprint
• Love Is a Kingdom — Tems
• Reflection Station — Tay Iwar
• This One Is Personal — Tiwa Savage

Best Recording of the Year

• Arike — Kunmie
• Amaeya — How Do You?
• Rema — Baby (Is It a Crime)
• Omah Lay & Elmah — Coping Mechanism
• Davido & Omah Lay — With You
• Fola — You

Best Alternative Album

• SDC — Afrika Magik
• Sewa — Detox
• BOJ — Duplicity
• Wizard Chan — Healers Chapel
• Scottyolorin — Olorin Pack
• Zaylevelten — Then 1t Got Crazy

Digital Artiste of the Year

• Asake
• Ayra Starr
• BNXN
• Chella
• Fola
• Mavo
• Seyi Vibez
• Wizkid

Next Rated

• Fido
• Fola
• Llona
• Mavo
• Shoday

Best Male Artiste

• Adekunle Gold
• Asake
• Fola
• Mavo
• Rema
• Wizkid
• Burna Boy

Rookie of the Year

• Amma
• Danpapa GTA
• Firstklaz
• Kidd Carder
• NO11
• Priesst
• OG Abbah

Best R&B Single

• 6:35 — Layefa
• How Do You? — Amaeya
• I Love You — Amma
• What You Need — Tems
• Winter & Summer — Magixx
• You4Me — Tiwa Savage

Songwriter of the Year

• Adekunle Gold — Many People
• Victony — Cough Syrup (w/ BNXN)
• Wizard Chan — Time Traveler
• Fola — Who Does That?
• Kunmie — Arike
• Amaeya — How Do You?

Best Vocal Performance (Female)

• Layefa — 6:35
• Amaeya — How Do You?
• Sewa — Lagos Lovin
• Qing Madi — Scumbag
• Liya — Skin to Skin
• Tiwa Savage — You4Me

Best Inspirational Single

• Sunmisola Agbebi & Yinka Okeleye — Amioluwa
• Lawrence Oyor — Favour
• Sinach — Idinma (You Are Good)
• Emma OMG — Ko’rin Iyin (I Will Praise You)
• Gaise Baba & Lawrence Oyor — No Turning Back II
• Mercy Chinwo — We Move

Best Vocal Performance (Male)

• Adekunle Gold — I’m Not Done
• Flavour — Orente
• Magixx — Summer & Winter
• Odeal — Patience
• Syemca — Love Egbugomo
• Tay Iwar — Bad Belle

Producer of the Year

• Magicsticks — Jogodo
• P. Priime — MMS
• Ragee — Hot Body
• Sarz — Getting Paid
• Tempoe — With You

Best Collaboration

• CKay & Mavo — Body (Danz)
• Mavo & Wave$tar — Escaladizzy
• Poco Lee, Shoday & Rahman Jago — Hey Jago
• Odumodublvck & Victony — Pity This Boy
• Davido & Omah Lay — With You
• Mr Eazi & King Promise — See What We’ve Done
• Chief Priest & Spyki — Finally

Songwriter of the Year

• Adekunle Gold — Many People
• Victony — Cough Syrup (w/ BNXN)
• Wizard Chan — Time Traveler
• Fola — Who Does That?
• Kunmie — Arike
• Amaeya — How Do You?

Afrobeats Album of the Year

• 5ive — Davido
• Captain — BNXN
• Clarity of Mind — Omah Lay
• Fuji — Adekunle Gold
• Morayo — Wizkid
• No Sign of Weakness — Burna Boy

Best Female Artist

• Ayra Starr
• Qing Madi
• Sewa
• Tems
• Teni
• Tiwa Savage

Lyricist on the Roll

• Blaqbonez — ACL
• Dremo — Man2Man
• Modenine — If You Like Gym (w/ Odumodublvck)
• PDSTRN — Moshood
• Ycee — Man2Man Remix (w/ Dremo)

Best Rap Album

• Tuff King — Black Sheepizen (The 13th Disciple)
• A-Q — GE3 (The Beginning)
• Erigga — G.O.A.T
• JeriQ — King
• Blaqbonez — No Excuses
• Odumodublvck — The Machine Is Coming

Best Street-Hop Artiste

• Famous Pluto — Na Scra
• Kashcoming — All My Money
• Poco Lee — Hey Jago (w/ Shoday & Rahman Jago)
• Seyi Vibez — Shaolin
• Shallipopi — Laho
• Tuff King — Nkemakonam
• Rybeena — Gaddem (w/ Shoday)

International Artiste of the Year

• Ciara
• Dave
• Gunna
• Jazmine Sullivan
• Shenseea
• Tiakola

Best Southern African Artist

• ​Ciza 🇿🇦
• ​DJ Maphorisa 🇿🇦
• ​Jazzwrld 🇱🇸
• ​Kabza De Small 🇿🇦
• ​Tyla 🇿🇦
• ​Uncle Waffles 🇸🇿

​Music Video of the Year

• ​Director Pink — 10 Kilo
• ​TG Omori — Afroculture
• ​DK — Bundle by Bundle
• ​Jyde Ajala — Wizard Chan
• ​Meji Alabi — Who’s Dat Girl
• ​Dammy Twitch — With You

​Best Alternative Song

• ​Cyk Baddie — Luwa.mp4 & Jeleel!
• ​Sewa — Lagos Lovin
• ​Wizard Chan — Oliver
• ​Blnde — Omo To Sexy
• ​Wave$tar — Prada Baby
• ​Obongjayar — Sweet Danger
• ​Chief Priest, Boypee & Zoro Swagbag — Summer Adina

Best West African Artiste

• ​Black Sherif 🇬🇭
• ​Himra 🇨🇮
• ​KiDi 🇬🇭
• ​King Promise 🇬🇭
• ​Moliy 🇬🇭
• ​Wally B. Seck 🇸🇳
• ​Stonebwoy 🇬🇭

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The album’s third track, “STARLIFE,” brings together Victony, Blaqbonez, and YKB for a lively celebration of carefree living, romance, confidence, and nightlife.

Through playful exchanges, witty lines, flirtatious energy, and plenty of swagger, the trio embodies a carefree lifestyle centered on having fun and enjoying the moment.

As the album’s title track, “STARLIFE” introduces the project’s youthful and vibrant spirit, blending humour, boldness, and a flashy party atmosphere into an easygoing anthem about living life without unnecessary pressure.

Victony, Blaqbonez & YKB – STARLIFE Lyrics

Intro: Victony
Baby, no dey take me serious, oh (Dëra)
Baby, no dey take me serious, oh

Chorus: Victony
Baby, no dey take me serious, oh, you know, I’m a jonzing guy
Baby, no dey take me serious, oh, you know, I’m a cruising guy
Starlife, starlife, starlife, uh-huh
Starlife, starlife, starlife, uh-huh

Verse 1: Victony
Baby tell me say she never see werey (Tell me she never see, I don’t care)
Say, she never see werey (Tell me she never see, I don’t care)
Swagger l’ọmọ, oshimilanga (I too dey fuck with her temper)
Me plus you is a banger, is a banger, is a banger

Verse 2: YKB
Yeah, banger, baby, it’s a banger
Daba gbori wole, everybody Santa
But e no go mean say I no go banter
It’s a good time, baby, no be long time, yeah
Yeah, ọmọtẹna, bounce am
I dey desire wetin you dey desire, ah
E no mean say I no go banter
It’s a good time, baby, no be long time

Chorus: Victony
Baby, no dey take me serious, oh, you know, I’m a jonzing guy
Baby, no dey take me serious, oh, you know, I’m a cruising guy
Starlife, starlife, starlife, uh-huh
Starlife, starlife, starlife, uh-huh
Baby, no dey take me serious, oh, you know, I’m a jonzing guy
Baby, no dey take me serious, oh, you know, I’m a cruising guy
Starlife, starlife, starlife, uh-huh
Starlife, starlife, starlife, uh-huh

Verse 3: Blaqbonez
Huh, it’s a banger, swag, balaclava
We get chemistry, study her matter
She say make I wire
She wan handle my money like a banker
On her knees like kanka, Minister of swagger
Hm, for her back, me I plaster
Ha, Nomadinho, Swaggerlọmọ, if I catch her for the koro, I go
I go, huh (Hey, God, oh)

Bridge: Blaqbonez
Yeah, baby tell me say I too sabi, oh
“Blaq’, ma pami, oh”, ah, heh
Oya, do like this, oh
Bad girl, say she wanna come my pool party, oh, yeah
Yeah, baby tell me say I too sabi, oh
“Blaq’, ma pami, oh”, ah, heh
Oya, do like this, oh
Bad girl, say she wanna come my pool party, oh, yeah

Outro: Victony
Baby, no dey take me serious, oh, you know, I’m a jonzing guy
Baby, no dey take me serious, oh, you know, I’m a cruising guy
Starlife, starlife, starlife, uh-huh
Starlife, starlife, starlife, uh-huh

This post appeared first on Mp3bullet.ng... Read Original post on “STARLIFE” Lyrics by Victony, Blaqbonez & YKB.

Released through OUTLAWIVILLE, the 15-track album captures an artist who has grown beyond simply crafting catchy melodies, now stepping confidently into a wider pop space on his own terms.

Produced by Shay “Gideon” Royale and Elochukwu Ububa, STARLIFE moves with a polished and layered sound. Afrobeats rhythms sit comfortably alongside atmospheric synths, detailed percussion, and softer pop textures, giving the album enough variety without losing its identity.

Across the project’s solo records, including the previously released SLICK and 2FRESH, Victony leans into his airy, falsetto-driven vocals and melodic instincts. He is joined by BNXN on WHO THIS, while Blaqbonez and YKB appear on the title track. BabyboyAV features on PINO, Young Jonn joins ARMED & DANGEROUS; and FOLA contributes to TWIN.

 

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Beyond the production and collaborations, STARLIFE spends a lot of time looking inward. Victony touches on love, fame, the realities that come with being more visible globally, and the resilience needed to keep moving after overcoming difficult chapters.

Rather than forcing everything into conventional pop formulas, he tells these stories more naturally and conversationally, allowing moments of confidence and vulnerability to exist side by side.

The result is a project that feels like a clear progression from Stubborn. STARLIFE presents Victony with greater creative control, a broader sonic palette, and a stronger sense of who he wants to be as an artist. It is another important step in his journey and one that shows just how much his sound and perspective continue to evolve.

Listen to the “STARLIFE” Album HERE

This post appeared first on Mp3bullet.ng... Read Original post on Victony Opens a New Chapter With “STARLIFE ” Album.

In a recent interview, Blaqbonez explained that he and Odumodu were once on good terms before their relationship became strained after they encountered the same woman in 2023.

According to the rapper, both artists met the woman around June or July of that year and developed an interest in her, with each eventually making an attempt to pursue a relationship.

“Me and Odumodublvck used to be cool, we had cordial relationship then. Sometime in 2023, like June or July, we met a girl at the same place at the same time, we were both interested in the girl and both parties made moves to her.”

Blaqbonez said he later became involved with the woman in a non-exclusive relationship that lasted roughly a year. He explained that the relationship eventually came to an end after she told him she no longer believed it was progressing in the direction she wanted.

Blaqbonez finally reveals what caused the fallout with OdumoduBlvck: “It was about a girl… a lie was told, things escalated, and here we are.🤯 pic.twitter.com/gSrUjTKhPq

— Soft Life (@softlife_space) August 18, 2026

The rapper said he later discovered that she had begun dating Odumodu after unexpectedly meeting her at a bar. He claimed that after asking about her relationship status and learning who she was seeing, he decided to completely distance himself from her.

“Days later I ran into her in a bar, and we talked, so I asked her who she was dating, that was when I found out it was Odumodu. I promised her she won’t hear from me again, and we moved on,” he added.

According to Blaqbonez, the situation did not end there. He alleged that Odumodu eventually confronted him over his past relationship with the woman, accusing him of continuing to contact or disturb her.

Blaqbonez said he explained that they had previously been involved but maintained that he had already cut off communication with her and blocked her.

He further recalled a three-way phone conversation involving himself, Odumodu and the woman. According to his account, the woman denied having had a previous relationship with him and also disputed that they had travelled together to Ghana.

Blaqbonez claimed that tensions continued to grow after the incident, eventually turning into repeated online attacks and harassment from Odumodu.

The revelation provides further context to the strained relationship between the two Nigerian rap acts, whose once-friendly association has since developed into a highly publicized feud.

Blaqbonez reveals that OdumoduBlvck allegedly kept calling and confronting him over a girl he had already ended things with. 👀😳 pic.twitter.com/rawqH7KfNP

— Soft Life (@softlife_space) August 18, 2026

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According to the report, the lawsuit was filed through Punuka Attorneys & Solicitors in a legal memorandum dated July 7, 2026.

The filing accuses Odumodublvck, whose real name is Tochukwu Gbubemi Ojogwu, of carrying out a sustained campaign of online publications and conduct that allegedly damaged Blaqbonez’s reputation, business interests and public image.

Part of the legal memorandum states:

“Our Client has suffered and continues to suffer significant loss and damage as a direct consequence of your unlawful conduct.”

Blaqbonez’s legal team further alleges that Odumodublvck repeatedly made or amplified statements describing the rapper as a “sexual abuser” and “sexual abusing bastard.” The filing contends that the statements are false, malicious and defamatory, and have caused serious harm to the artist’s reputation.

As part of the suit, Blaqbonez is asking the court to declare the publications defamatory and grant several reliefs, including a perpetual injunction restraining Odumodublvck from making or encouraging further defamatory statements or threats.

The claimant is also requesting an order directing the removal of the alleged defamatory posts from all of Odumodublvck’s social media platforms, as well as a public retraction and apology to be published on his verified accounts and pinned for at least 30 consecutive days.

In addition, the lawsuit seeks a public notice asking Odumodublvck’s supporters to refrain from harassing or intimidating Blaqbonez.

Beyond the ₦2 billion sought as general damages for alleged injury to his reputation, goodwill, and commercial standing, Blaqbonez is also claiming an additional ₦500 million in aggravated damages, arguing that the alleged publications were repeated and malicious.

The suit further seeks ₦50 million to cover legal costs, alongside any additional relief the court may consider appropriate.

The court documents also contain allegations of harassment, assault, battery, unlawful interference, and threats to Blaqbonez’s safety. However, those claims have not been tested before the court.

At the time of publication, Odumodublvck had not publicly responded to the lawsuit. The allegations outlined in the court filings represent Blaqbonez’s claims, and the case remains pending before the courts.

 

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The project presents a sound that is both energetic and cohesive, with each track carrying its own identity while still fitting into a unified sonic direction.

The EP also benefits from strong guest appearances, featuring Blaqbonez, Shoday, and 255, whose contributions add texture, contrast, and extra flavour to the overall listening experience. Their presence helps broaden the EP’s appeal, moving it across different pockets of the Nigerian soundscape.

At its core, Sweet Sins explores themes of desire, temptation, ambition, and emotional conflict, ideas subtly reflected in the title itself. Rather than presenting them in a heavy or overly complex way, Dxtiny weaves these concepts into catchy, accessible songwriting that still carries emotional weight.

Sonically, the project is built on crisp percussion, melodic hooks, and a modern Afro-fusion bounce designed for replay value. It sits comfortably between street-pop and mainstream Afrobeats, a space where competition is intense but creativity thrives for artists able to carve out their own identity.

With Sweet Sins, Dxtiny positions himself within that evolving soundscape, offering a project that is both club-ready and personal-listening friendly. Early impressions suggest an artist steadily refining his lane while pushing toward a more defined musical direction.

Listen to “Sweet Sins” EP HERE

This post appeared first on Mp3bullet.ng... Read Original post on Dxtiny Introduces a Cohesive New Sound With “Sweet Sins” EP.

The rapper disclosed on his official X page while opening up about why he chose not to join the Don Jazzy-led label despite the tempting offer.

According to him, his personality and approach to fame did not fit the expectations that usually come with being signed to a major music company.

Blaqbonez explained that he is naturally reserved when it comes to social media activity and fan engagement, adding that he prefers to keep a low profile online rather than constantly posting content.

“Need to get this off my chest before chanel drops, the reason I didn’t sign to mavin when they were begging me with a million dollars is cos i don’t really like posting, I prefer 1 tweet per year than engaging my fans, I’m too big for that, I’m mysterious,” he stated.

need to get this off my chest before chanel drops, the reason I didn’t sign to mavin when they were begging me with a million dollars is cos i don’t really like posting, i prefer 1 tweet per year than engaging my fans, i’m too big for that, i’m mysterious

— EVERLASTING TAKER (@BlaqBonez) May 21, 2026

His revelation quickly sparked reactions across social media, with many fans debating whether rejecting such a lucrative deal was a bold move or a risky career decision.

Others, however, praised the rapper for staying true to his personality and artistic identity instead of forcing a lifestyle he was uncomfortable with.

Over the years, Blaqbonez has built a reputation for his confident persona, unconventional humour, and unique approach to promoting his music, often standing out as one of the most outspoken voices in Nigeria’s rap scene.

This post appeared first on Mp3bullet.ng... Read Original post on Blaqbonez Explains Why He Said No To Mavin Records Deal.

The record brings together two of Nigeria’s most distinctive modern voices in what feels like a confident, stylish exchange rather than a traditional feature-heavy track.

With both artists already enjoying strong momentum individually, “Chanel” arrives as a polished link-up that highlights their chemistry and shared creative history that dates back to before their mainstream breakthroughs.

Fresh from his sold-out UK tour and continued success from the No Excuses (Deluxe) era, Blaqbonez steps into the track with his usual witty, self-assured rap presence.

On the other side, Asake continues his remarkable run of global hits, bringing his signature Fuji-infused Afrobeats energy that has helped redefine the sound of contemporary Nigerian music.

Sonically, “Chanel” is built on sleek, luxury-inspired production—driven by a smooth bassline, airy synth layers, and a refined rhythm that gives both artists space to shine. Rather than competing for dominance, the track unfolds like a relaxed conversation between two artists reflecting on fame, success, and the lifestyle that comes with it.

Lyrically, both Asake and Blaqbonez lean into themes of luxury, ambition, and pop culture references, name-checking icons like The Fresh Prince of Bel-Air alongside high-end fashion staples such as Cartier and Nike. Beneath the glamor, however, there’s a subtle awareness of the fast-paced nature of success and the importance of living in the moment.

The result is a smooth, infectious record that feels equally at home in upscale nightlife settings and global fashion spaces, further cementing both artists as key voices shaping the sound and culture of modern Afrobeats and hip-hop.

Listen to “Chanel” HERE

This post appeared first on Mp3bullet.ng... Read Original post on Asake & Blaqbonez Drop Stylish New Banger “Chanel”.

The rapper made the remarks during a chat with YouTuber Korty EO, where he shared his thoughts on how competition, especially among fanbases, fuels longevity in the music industry.

According to Blaqbonez, the constant online back-and-forth between the two camps ensures that both artistes remain in the spotlight, even after spending years at the peak of their careers. In his view, without that tension, maintaining such dominance would be far more difficult.

“Wizkid and Davido can never fade. That hatred is the reason why they will be relevant forever. When they love each other, it is over. Love is for children. Artists can love each other, but the fans should never love each other,” he said.

He further explained that this kind of rivalry keeps conversations alive, drives engagement, and ultimately benefits the artistes involved by keeping them trending across platforms.

Blaqbonez, who is known for his bold takes, added that he personally embraces competition. He described himself as an artist who thrives in competitive spaces, noting that rivalry when it stays within bounds can be a powerful engine for creativity and visibility in the industry.

“Wizkid and Davido can never fade. Artistes can love each other, but the fans should never love each other. If I have that kind of rivalry today, I’m great for the next 10 years.”

— Blaqbonez pic.twitter.com/wivsFaRMYg

— SKB (@seyikanbai) April 19, 2026

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