The legal and contractual dispute surrounding Nigerian singer Qing Madi has escalated into a full-scale public disagreement, with her former label JTON Entertainment and her current management, KFMD, issuing sharply conflicting interpretations of a Lagos court ruling tied to her ongoing Spotify takedown controversy.

What began as a TikTok livestream has now developed into a multi-layered dispute involving competing legal narratives, allegations of contract invalidity, and claims of copyright enforcement actions affecting the singer’s catalogue.

The controversy intensified after Qing Madi, the 19-year-old artist behind the EP Barely Legal, went live on TikTok to address the sudden removal of her music from Spotify. During the session, she directly accused her former label boss, Joy Tongo of JTON Music, of financial misconduct, forgery allegations, and coordinated efforts to disrupt her career trajectory. She also claimed she had previously won a court case against the label, noting that the proceedings began while she was still a minor and required her mother’s involvement in court.

In response, JTON Entertainment issued a formal statement rejecting allegations of wrongdoing and framing the matter strictly as a contractual and commercial dispute rather than a personal conflict.

The label denied claims of harassment or intimidation and pushed back on interpretations of the court outcome, insisting that the High Court of Lagos State granted an interlocutory injunction in its favour. According to JTON, the order restrains Qing Madi from releasing, performing, or commercially exploiting recordings developed under the label, as well as from entering new agreements using the brand and platform it established, pending the final determination of the case.

JTON also confirmed existing recording and distribution arrangements with Sony Music and Bu Vision, stating that these agreements remain legally binding and enforceable.

However, KFMD, the management company now representing Qing Madi, released its own counter-statement on June 5, directly challenging JTON’s interpretation of events and presenting a sharply different legal position.

On the question of who initiated legal proceedings, KFMD maintained that JTON filed the suit, not the artist. The company also argued that the original contracts were signed when Qing Madi was 16 years old, classifying them as infancy contracts that are voidable under the Child’s Rights Law of Lagos State 2015.

According to KFMD, the court recognised Qing Madi’s right to terminate the agreements, retain control over her career decisions, and enter new management and recording arrangements independent of JTON. The firm further stated that the injunction being referenced by JTON is limited in scope and applies only to specific recordings tied to the disputed contracts, rather than constituting a broader restriction on her career.

KFMD also levelled additional allegations, claiming that JTON issued copyright takedown notices to platforms such as Spotify and Audiomack over rights it does not legally control. It further alleged that cease-and-desist letters were sent to promoters and event organisers to prevent Qing Madi from performing, actions it described as misrepresentations of the court ruling and an attempt to enforce restrictions beyond what the court ordered.

With both sides now publicly entrenched in opposing legal interpretations, the situation has evolved into a wider industry debate about contracts signed with minors, label ownership structures, and the enforcement of interim court orders in the Nigerian music industry.

As it stands, the substantive case has yet to proceed to trial, while Barely Legal remains partially affected on streaming platforms amid the ongoing dispute.

 

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The ongoing legal battle between rising Nigerian singer Qing Madi and her former management company, JTON Entertainment Limited, has taken another turn following the company’s detailed response to allegations circulating online.

The dispute, which has attracted significant attention across social media, intensified after Qing Madi’s recently released Barely Legal EP was removed from major streaming platforms shortly after its debut.

The takedown prompted strong reactions from the singer, who publicly accused her former label and its CEO, Joy Tongo, of attempting to derail her career.

In a statement released on Friday, JTON Entertainment rejected what it described as misleading narratives surrounding the case, insisting that its actions were motivated by contractual and business considerations rather than personal grievances.

According to the company, the legal proceedings were initially commenced by the artist herself, with JTON subsequently taking steps to safeguard its investments and contractual interests.

“It is a legal and commercial dispute concerning rights, obligations, investment, and the protection of works and opportunities developed during the course of a professional relationship.

“It is therefore deeply concerning that the matter is now being presented online as though JTON or its officers are threatening the artist’s life or engaging in harassment. These allegations are false, unfair, and capable of misleading the public,” the organisation said.

JTON further denied accusations that it had threatened, intimidated, or harassed the singer in any form, stressing that neither the company nor its representatives had authorised such conduct.

Addressing recent discussions surrounding a court ruling in the matter, the company argued that the judgment has been widely misunderstood and inaccurately represented online.

“The recent ruling of the High Court of Lagos State, Nigeria, should not be misrepresented. The Court did not hold that JTON had no case. In fact, the Court granted part of JTON’S interlocutory injunction application and restrained the artist from releasing, publishing, or performing music, recordings, or content produced, promoted, or financed under JTON and entering into new agreement or deals using the brand or professional platform developed by JTON pending the determination of the suit.

“It is important to also note that JTON Music also has a recording and distribution agreement with Sony Music and Bu Vision. These arrangements remain subject to lawful enforcement and must be respected by all parties. Where recordings fall within those arrangements, they cannot be released, distributed, or commercially exploited outside the agreed structure without the necessary authorisation. JTON’S position is simply to ensure that all parties respect existing obligations.

“JTON remains committed to due process. All actions taken so far, and all actions to be taken going forward, will be within the confines of the law and under the supervision of the Court in Nigeria and in New York,” the organisation said.

The company concluded by urging members of the public, media organisations, fans, and online commentators to avoid spreading unverified information that could influence or prejudice the ongoing legal proceedings.

As the dispute continues to unfold, both sides remain firmly entrenched in their positions, with the future of Qing Madi’s music releases and contractual status likely to be determined through the courts.

 

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Qing Madi has publicly accused her former record label executive, Joy Tongo, of forgery and financial misconduct, reigniting a growing dispute that has spilled into the public eye following the release of her new project, Barely Legal.

The controversy surfaced after several songs from the singer’s recently released album reportedly disappeared from streaming platforms amid claims of a contractual disagreement.

Qing Madi alleged that the actions were part of a deliberate attempt by her former label to disrupt the momentum of her career.

During a recent TikTok livestream, the singer expressed frustration over the ongoing situation, claiming that the conflict stems from a legal battle she says she successfully defended against.

According to Qing Madi, the dispute goes beyond music ownership and contractual disagreements, as she accused her former label boss of engaging in unethical practices during their working relationship.

“She [Joy Tongo] stole from me, did a bunch of weird things like forging my signature. She sued me for $2M & she lost the case. She took down ‘Pepper Me’, I worked with my team to prove it’s an illegal takedown. They went through the corners again to take down the project,” the singer lamented.

The American Love hitmaker also appealed to her supporters for assistance in drawing attention to what she described as an unfair situation, admitting that the prolonged dispute has taken a toll on her.

 

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However, Joy Tongo has strongly denied the allegations.

Responding through a post on Instagram, the JTon Music CEO dismissed Qing Madi’s claims as false and rejected accusations that she forged the singer’s signature or misappropriated funds.

Tongo also challenged Qing Madi’s assertion that the legal case had already been decided in her favour, insisting that the matter remains active and has not yet proceeded to trial.

“Also, the injunction is ruling is why we can issue a legal takedown now, what case have you won? Because last time I checked the case still hasn’t gone to trial,” Tongo added in a post on her Instagram page.

The dispute marks the latest development in what appears to be a complex legal and professional fallout between the singer and her former label. With both parties maintaining conflicting positions, the matter is likely to remain under close public scrutiny as the legal process continues.

 

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For now, fans are left watching closely as one of Nigeria’s rising music stars and her former management continue to trade claims over contracts, ownership rights, and the future of her music catalog.

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The song captures the desire to share meaningful moments with a lover, blending passion and affection with a laid-back, carefree romantic energy.

Through its catchy melodies and flirtatious storytelling, Come Slide highlights the chemistry between two people drawn to each other on both emotional and physical levels.

Across the record, the artists explore themes of devotion, desire, and modern romance, painting a picture of love that feels exciting, playful, and deeply connected. With its soothing Afro-R&B production and smooth vocal delivery, the track stands out as a feel-good anthem about closeness, attraction, and enjoying love in its most effortless form.

Qing Madi, BNXN & Victony – Come Slide Lyrics

Chorus: Qing Madi
Got what you need
‎So why you shy come slide
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎You got me waiting for you all night long
‎Hm baby you know I feel wrong solo
‎Hm baby you know I feel wrong solo
‎I want to spend every second with you
‎Uh, you know I feel the vibe
‎I must take this conversation with you
‎Let’s do it right
‎Baby you know I just wanna do it right
‎
‎Verse 1: BNXN
‎Hey you girl inna turn up the skirt, uh baby, you know you fit kill someone
‎I’m fucking with you we no need no condom
‎When breaking the rules, we need no conform
‎From the night till morning comes
‎Who go tell odo she too get bumbum
‎Full pass e container wey just land come
‎Sweet like Asokoro from Espanol
‎I no like answer causе likely, I was mouthing before but don’t mind mе
‎I like conversation like will you buy me
‎Would you please put me in Chanelly
‎
‎Chorus: Qing Madi
‎Got what you need
‎So why you shy come slide
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎You got me waiting for you all night long
‎
‎Verse 2: Victony
‎Hey, stubborn
‎What’s up oh my baby?
‎I’ll give you many me cause I’m crazy
‎Baby, forget work o my baby
‎Make I put you on the next flight o my baby
‎Shey I say you are better than them
‎Say make you give you ten but I will give you hundred
‎Baby shey na na Roly AP, Cartier, or Patek o
‎I go buy you all the time cause I want to spend every second with you
‎Uh
‎You know I feel the vibe
‎I must take this conversation with you, let’s do it right
‎Baby you know I just wanna do it right with you, my baby oh when you need someone
‎Call my 080 make you ring stubborn
‎
‎Chorus: Qing Madi
‎Got what you need
‎So why you shy come slide
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎Hm baby you know
‎You no fit kill someone
‎You got me waiting for you all night long
‎Hm baby you know I feel wrong solo
‎Hm baby you know I feel wrong solo
‎I want to spend every second with you
‎Uh, you know I feel the vibe
‎I must take this conversation with you
‎Let’s do it right
‎
‎Outro
‎Hm baby you know I feel wrong solo
‎Hm baby you know I feel wrong solo

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Dropped on May 29, 2026, the project arrives as a bold statement of intent, showcasing an artist steadily stepping into her full creative identity.

Known for her soulful blend of Afrobeat, R&B, and global influences, Qing Madi continues to carve out a unique lane in the Nigerian music landscape. Her sound is often defined by emotional depth, smooth vocal delivery, and a natural ability to connect with both local and international audiences.

On “Barely Legal,” she expands that identity even further, pulling together an impressive lineup of heavyweight collaborators that spans multiple generations of Nigerian music. The EP features appearances from Tiwa Savage, BNXN, Victony, Zinoleesky, Zlatan, Flavour, Wande Coal, Rotimi, and Eemoh, creating a rich blend of styles and influences.

Sonically, the project moves fluidly across Afrobeats, soulful melodies, and contemporary African rhythms. Tracks like “Come Slide” highlight her ability to float effortlessly over modern production while maintaining her signature softness and emotional clarity.

Beyond its sound, “Barely Legal” carries a deeper narrative of growth, confidence, love, and youthful expression. It captures a transitional phase in both life and artistry, where curiosity meets ambition and experimentation meets direction.

What makes the EP particularly notable is how it bridges generations. With veterans like Tiwa Savage, Flavour, and Wande Coal appearing alongside newer voices such as Victony and Zinoleesky, the project becomes a meeting point between legacy and the future of Afrobeats.

Critics and listeners alike are already pointing to the EP as a pivotal moment in Qing Madi’s rise, one that could position her for even broader international recognition in the near future.

Ultimately, “Barely Legal” is more than just a sophomore project. It is a declaration that Qing Madi is not only growing but also intentionally shaping her space within the global music conversation through bold collaborations and an unmistakable Afro-fusion identity.

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Speaking during a recent podcast, the fast-rising star recounted how a simple errand turned into an uncomfortable situation when she was allegedly overcharged at a pharmacy.

According to her, she had stepped out of a car she was in with her parents after her father asked her to purchase a drug nearby.

What seemed like a routine task quickly escalated when she was recognized.

“When I got there, they started taking pictures of me,” she said. “To my shock, the drug that originally cost ₦2,000 was sold to me for ₦50,000. My dad got very angry and went back for them, but they denied it. I was so embarrassed because of everything, the photos, the overcharge.”

Qing Madi, known for her breakout single “See Finish” and her 2023 hit “Ole” featuring Bnxn, shared the incident as both a humorous and cautionary tale—highlighting some of the unexpected downsides that can come with sudden fame.

“My dad tried to send me to buy paracetamol because he didn’t believe I had blown up… the drug was originally ₦2,000 but they sold it to me for ₦50,000 , my dad got very angry and went back to PARA for them… that was the last time he ever sent me on an errand, I was so… pic.twitter.com/DOrXqhuhAO

— carter🌚 (@carter6f) April 3, 2026

Qing Madi explained that her decision to stay financially private comes from a desire not to be defined solely by money or material possessions. She wants her art—and not her bank balance—to shape how people perceive her.

While financial independence has given her the freedom to steer her music creatively, she admitted there’s sometimes pressure to cater to audience expectations.

“Sometimes I might fall victim to consumerism, because I’m like, at the end of the day, they like this one, so it’s fine. But it doesn’t mean that I’m going to reduce the quality of what I make to fit what people desire,” she said.

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The fast-rising singer shared her perspective during a recent episode of the Tea With Tay podcast, where she reflected on her values, career choices, and the realities of navigating the Nigerian music scene.

Qing Madi explained that her decision to stay financially private comes from a desire not to be defined solely by money or material possessions. She wants her art—and not her bank balance—to shape how people perceive her.

While financial independence has given her the freedom to steer her music creatively, she admitted there’s sometimes pressure to cater to audience expectations.

“Sometimes I might fall victim to consumerism, because I’m like, at the end of the day, they like this one, so it’s fine. But it doesn’t mean that I’m going to reduce the quality of what I make to fit what people desire,” she said.

The singer also highlighted the staggering difference between what artists earn and what the average Nigerian worker takes home, comparing music earnings to “drug money” because of how extraordinary they can be.

“You see someone working a nine-to-five earning maybe ₦500,000, and then an artist performs at one show and earns about ₦20 million. It’s like, whoa,” she added.

Beyond the financial aspect, Qing Madi touched on music’s emotional impact, calling it a lifeline for many Nigerians in a society where access to mental health support is limited.

“I believe the reason Nigeria loves music so much is that we don’t have therapists. It’s an escape… Even when people are sad or depressed, they don’t take a break. So when they hear someone else telling their story, it resonates,” she said.

 

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During a recent appearance on the Tea With Tay podcast, the young star didn’t hold back as she shared her thoughts on the kind of money artists make. According to her, the earnings in music are on a completely different level—so much so that she likened it to something far from ordinary.

Explaining her stance further, Qing Madi pointed out that a dedicated artist can earn as much as ₦20 million from just a single performance, a figure that sharply contrasts with what many Nigerians take home monthly from regular jobs.

Drawing a comparison between entertainers and the average 9-to-5 worker, she stressed that the gap in income is massive and hard to ignore. In her words:

“Music money is not normal, it is like drug money. I don’t think people know how… And I’m not the person who would buy stuff and put on the media because I do think that that would change the narrative of what I am to the media. And I don’t like people looking at me and seeing money. But I am rich. The average Nigerian works 9-5 and earns maybe N500,000 at the end of the month, while as an artist, you do one show and get N20 million. Music money is huge,” she said.

 

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The body of work signals a clear shift in Joeboy’s artistry, as he steps away from his usual pop-driven sound into a more reflective and emotionally layered space. At the same time, the project shines a brighter light on Wizard Chan’s earthy, almost spiritual vocal style, creating a balance that defines the EP.

Opening with Fall Back In Your Arms featuring Braye, the project immediately sets a moody and atmospheric tone. That feeling carries throughout, with standout records like 100 Meters and Loner (Alone) highlighting the contrast between Joeboy’s smooth, melodic delivery and Wizard Chan’s deep, resonant voice.

Another notable moment comes with Love Sick Crazy, which features Qing Madi. The track injects a youthful and slightly brighter energy into the project, making it one of the more accessible and radio-friendly cuts on the EP.

Beyond the sound, Agaba Romantic stands out for its lyrical depth. Rather than sticking to typical Afrobeats themes, the project explores heavier emotions—loneliness, intense love, and the burden of identity and legacy. The word “Agaba” itself hints at strength, tradition, and a kind of masked mystique, which is reflected in the storytelling.

Production across the EP is minimal yet deliberate, allowing the vocals and emotions to take centre stage. Songs like Lazarus and Forever feel almost spiritual, blurring the line between music and experience and reinforcing the project’s deeply romantic—but intense—core.

In an industry often driven by fast-paced hits, this collaboration stands out as a bold artistic choice. By partnering with Wizard Chan, Joeboy embraces a more introspective direction, delivering a project tailored for listeners who value depth, storytelling, and lingering melodies.

Agaba Romantic ultimately arrives as one of the most distinctive collaborative releases of 2026—an offering built not just for the charts but for late-night reflection and emotional connection.

Listen to “Agaba Romantic” HERE

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“Dearly” is a heartfelt love song centered on deep devotion and exclusivity in a romantic relationship. Through the lyrics, both artists express unwavering commitment, declaring they want nobody else and clearly see their partner as “the one.”

Blending smooth melodies with affectionate promises and playful references like Aladdin and Jasmine, the song beautifully celebrates passionate love, trust, and the desire to stay close no matter what.

Wande Coal & Qing Madi – Dearly Lyrics

Intro
Uhhhh
Oh yeah yeah yeah

Pre-Chorus: Wande Coal
I never see anybody wey love you pass me
When I tell you my secret, make you no cast me
Too gbaski
Baby anything make you dey ask me
Con dey feel like say you don dey jazz me
I still, never see anybody wey love you pass me
If you tell me you gat me, I know you gat me
Too classy
Let me be the Genie with the magic
I’ll be your Aladdin you be my Jasmine

Chorus: Wande Coal
I love you dearly
I see it clearly
I don’t want nobody
Cause I don’t see nobody
I need you near me
I’ll hold you steady
I can’t love nobody
Cause I don’t want nobody

Post-Chorus: Wande Coal
If it’s not youuuu (if it’s not you)
In my life, baby
Cause I don’t wanna see nobody
If it’s not youuuu (if it’s not you)
In my life, baby
Cause I don’t wanna see nobody but you
Nobody but you
Ohhhhh

Verse 2: Qing Madi
…in my space
How did you think that I’m not…
You always on my page, but you making it hard to just let you go
Oya sunmomi
I want you like I do
You can’t leave o
Oh eh eh
Baby I don’t care
I do love
I am melody, you baby
I do not care
I do love
I no wan dey choose boy, choose boy

Pre-Chorus: Wande Coal & Qing Madi
I never see anybody wey love you pass me
When I tell you my secret, make you no cast me
Too gbaski
Baby anything make you dey ask me
Con dey feel like say you don dey jazz me
I still, never see anybody wey love you pass me
If you tell me you gat me, I know you gat me
Too classy
Let me be the Genie with the magic
I’ll be your Aladdin you be my Jasmine

Chorus: Wande Coal
I love you dearly
I see it clearly
I don’t want nobody
Cause I don’t see nobody
I need you near me
I’ll hold you steady
I can’t love nobody
Cause I don’t want nobody

Post-Chorus: Wande Coal
If it’s not youuuu (if it’s not you)
In my life, baby
Cause I don’t wanna see nobody
If it’s not youuuu (if it’s not you)
In my life, baby
Cause I don’t wanna see nobody but you
Nobody but you

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The collaboration is a seamless blend of experience and youthful energy. Wande Coal, a defining voice of modern Afrobeats, brings his signature silky vocals and masterful control.

At the same time, Qing Madi adds a vibrant, emotive layer, proving why she’s one of the most exciting young talents in Nigerian music today.

“DEARLY” is a mid-tempo Afro-R&B track that celebrates enduring love and commitment. The minimalist production places the spotlight squarely on the vocals, allowing both artists to shine. Wande Coal effortlessly navigates between soaring tenor runs and grounded melodies, while Qing Madi matches him note for note, delivering maturity beyond her years.

The chemistry between the two feels natural, almost conversational, bridging two eras of Nigerian pop: Wande Coal representing the boom of the 2010s and Qing Madi embodying the genre-defying future. The result is a track that’s smooth, timeless, and immediately captivating—perfect for late-night drives, intimate moments, or wedding playlists.

For Wande Coal, “DEARLY” adds another jewel to his illustrious catalogue. For Qing Madi, it’s a statement-making moment, cementing her arrival as a force in Afrobeats alongside one of the genre’s greatest voices.

Listen to “Dearly” HERE

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Held in partnership with the African Union Commission, the ceremony once again showcased the continent’s sonic dominance, from Afrobeats and Amapiano to Bongo Flava and Soukous.

The evening was a dazzling display of culture, with high-energy performances, heartfelt tributes, and a red carpet that saw stars stepping out in some of the continent’s finest fashion.

While Nigerian superstars dominated the spotlight, AFRIMA 2025 remained a truly pan-African affair, featuring talent from Rwanda, Senegal, Morocco, South Africa, and beyond.

“Tonight is not just about trophies; it’s about the unity of our culture and the strength of our voice on the global stage,” said AFRIMA President Mike Dada during the opening remarks.

The ceremony blended legendary icons with the “New Wave” of African music, underscoring the continent’s vibrant present and promising future.

Hosts & Media Personalities

• Enioluwa Adeoluwa
• Claudia Naisabwa
• Tosyn (The Style Infidel)
• Ariane Celeste Moua
• Olisa Adibua
• Juliet Ibrahim
• Annie Macaulay

Musicians & Performers

• Rema
• Seyi Vibez
• Shallipopi
• Phyno
• Yemi Alade
• Patoranking
• Falz
• Qing Madi
• Jazzman
• Adewale Ayuba
• Jux
• Cindy Le Coeur
• Gaise Baba
• Kunmie
• Chella
• Element Eleéh
• Weeha

Notable Figures & Dignitaries

• Mike Dada (AFRIMA President)
• Jonny Baxter (British Deputy High Commissioner)
• Simon Field (UK Deputy Head of Mission)
• Ambassador Anna Westerholm (Sweden)
• Toke Benson-Awoyinka (Lagos State Commissioner for Tourism)
• Ayo Animashaun (CEO, HipTV)
• Kenny Ogungbe
• Dayo Adeneye

AFRIMA 2025 was more than an awards show — it was a celebration of African music’s power, diversity, and global influence, uniting performers, industry figures, and dignitaries in a night to remember.

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