Remember when their names were on every lip? When every show wanted them, every brand chased after them, and money flowed like water? Those were the golden years when being fame felt like it would last forever.

So many entertainers that spend their years of fame ‘living large’, wearing Designer clothes, driving expensive cars, throwing elaborate parties, living luxurious lifestyles, and spending recklessly. They believe the money would keep coming from different gigs they get, but the Entertainment industry comes with different twists, changing trends, new new faces, and the attention starts to reduce.

The reality for most entertainers is tough; unlike regular jobs with pension and retirement benefits, entertainers have nothing to fall back on when the years of fame end, the income stops, the brand endorsement deals reduce, and the event organizers stop calling.

It is common to see veteran actors who once ruled Nollywood screens struggle to survive when the fame ends; musicians whose songs got massive airplay struggling to cover medical expenses when the fame ends; comedians who filled stadiums, now performing at small venues for little survival.

We have also heard stories online of actors who beg on social media to pay hospital bills, musicians appealing to their loyal fans for financial support, and influencers whose brands have collapsed resorting to menial jobs to keep body and soul together. We have seen examples like:

I. Hanks Anuku who was famous for his villain and action roles. After health and personal struggles, he was spotted looking mentally derailed on the street, and this sparked strong debates on social media. His presence in Nollywood significantly declined, and he is now rarely cast in new productions.

II. Victor Olaotan was a Nigerian actor best known for his leading role in the soap opera Tinsel in the year 2013. He struggled with medical bills after his accident.

III. Babatunde Omidina was a Nigerian actor and comedian popularly known as Baba Suwe. He also fought a public battle with illness and financial difficulties before his death.

We also have some Nigerian artistes who are no longer in the limelight or who are struggling to remain in our faces:

I. Akinmayokun Awodumila, known as May D, formerly with Square Records; May D had big hits like “Soundtrack” and “Ile Ijo”. After leaving the label linked to P-Square, his momentum dropped and he hasn’t regained his earlier dominance.

II. Yaqub Jubril known as YQ was popular around 2010–2012 with songs like “I Like Girls”. He had club bangers but slowly disappeared from mainstream playlists as new Afrobeats acts emerged.

III. Morihanfen Oluwaseun Oluwabamidele, known by his stage name as Sean Tizzle, dropped massive hits like “Sho Lee” and “Mama Eh”. After leaving his label, his visibility reduced and newer artists overtook the scene.

IV. Sauce Kid aka Sinzu was a respected rapper in the late 2000s. Legal troubles and relocation abroad slowed his career, and he never fully returned to mainstream dominance.

But not every story is sad, some of these entertainers anticipated evolution in the creative industry and they prepared for it.

Richard Mofe-Damijo (RMD) is an old actor who has managed to stay relevant, still thriving, having smartly maintained his brand and adapt his presence in the industry.

Funke Akindele didn’t just act movies she became a producer and built a business empire.

Banky W transitioned into politics and business.

Don Jazzy evolved from being just an artist to record label mogul.

The truth remains that entertainment is unpredictable. It is instructive for current entertainers to try to plan for the future, invest wisely, and live within reasonable means. Famous artistes must understand that impressing people who do not care about their future will leave them helpless in the end.

Entertainers must build backups while they still can. Fame is fleeting and there will always be a time when a former ‘hot’ artiste becomes an ‘old taker’, the income stops flowing, and life starts to ask very difficult questions.

The post Old Takers: Realities of Entertainers when the spotlight fades appeared first on Afinju FM.

The revered King of Ekiti Music was born on August 23, 1944, into the family of Olori Awo, Head of the Cult of Ifa Priests for Isaba and Egbeoba Land, Chief Jimoh Akanbi Ogunyemi Aleyelogigun; his mother was the late Oke Ogunyemi, an indigene of Ijelu Ekiti. In the 1950s, he completed his Standard Six education at St. Peter’s Catholic Primary School, Ikole-Ekiti, where he was the leader of a music band.

In 1966, Elemure, with an intention of learning plumbing or welding skills, was forced to drop out of vocational training due to financial struggle. However, he got employment at the Federal Ministry of Finance in Lagos, where he worked as a messenger and later a clerical assistant.

Because of the love he had for music, Peter Ogunyemi was juggling between the civil service and music. By 1972, he was already performing on television and at late night shows. During this time, he released his first record, Irawo Mi Le, in 1974. However, the responsibilities of the two conflicting jobs made him resign in 1976 from the civil service to focus on his musical career full time.

Upon his resignation, he bought his first ever set of music instruments with the one-year salary, approximately £864, he was paid. After three years that he left the civil service, he moved to Ekiti to establish his Musical Headquarters and formed his legendary status.

Read Also: Ayinde Barrister: The Architect of Fuji Music

Being the son of Olori Awo, Elemure was exposed to the mysteries of Ifa oracular chants and traditional Yoruba religion which is evident in his lyrics. This knowledge helped him to flawlessly blend Yoruba idioms, aphorisms and proverbs, and his exposure to the Ifa verses made him stand out in delivering deep thoughtful lyrics which did not just make him famous, but set him as a cultural ambassador.

Elemure Ogunyemi did not just play Apiiri but modernized it into Ere Ibile, Indigenous Play, by blending the Apiiri rhythmic patterns with Hunters’ Chant, and introduced contemporary instruments like guitars to make it globally appealing.

Before his New Dimension Blues genre and the formation of his music band, Chief Dr. Elemure Ogunyemi & His New Dimension Blues Int’L, Elemure, who had no formal music training, drew his inspiration from the diverse Ekiti music genres which include Apiiri genre, prominent in Emure, Alele, Alamo, praise chants and Adamo, notable with instruments like the Pipiri (Okiiri) drum, Sekere (gourds) and Agogo (metal gongs), performed during sacred rituals, social celebrations and historical storytelling.

Peter Ogunyemi Elemure’s sound relied on indigenous and modern instruments like Okiiri (or Pipiri), Sekere, Agogo, Dundun and later introduced electric guitars and keyboards into his music to modernize the rhythms and appeal to a broader urban audience. His music was unique because of the Emure-Ekiti dialect that he flawlessly used to deliver his philosophical messages, using animal metaphors and proverbs to address social issues like the time of petrol scarcity he talked about in his breakout hit, “Seranmo.”

Over his career, the King of Ekiti Music released between 46 to 50 albums with tracks like Seranmo, Ekiti Kete / Ekiti State Anthem, Ere Igbagbo, Irawo Mi Le, Berekete and Ekiti Yeye. His mastery of the Emure-Ekiti dialect and traditional rhythms took him on tours to the United States, United Kingdom, Germany and Poland.

Elemure’s genre template influenced his peers and other prominent singers like King Femi Ariyo, often cited as Elemure’s chief contemporary and “rival,” Dele Matina, Osaloni Ojo, among others.

Until his passing on Thursday, September 18, 2014, Elemure remained one of Nigeria’s most honoured traditional musicians. He received over 105 local and international awards and was conferred with an honorary Doctorate degree by the University of Ilorin in 1994. He also held high-ranking traditional titles, including Elejoka of Isaba-Ekiti in Ikole Local Government and Amuludun of Ayede-Ekiti.

Through his music, Peter Ogunyemi Elemure immortalised Ekiti culture, ensuring that the rhythms, dialects and spiritual depth of his people continue to resonate across generations.

The post Elemure Ogunyemi: The Voice That Carried Ekiti Tradition to the World appeared first on Afinju FM.

Today, soft life is no longer just about choosing peace, it is about appearing peaceful. It is not enough to be okay, you must look okay and must look successful, calm, moisturised, and unbothered. And social media has become the stage where this performance plays out daily.

On Instagram, Facebook, and Tiktok, life looks so soft. Videos and pictures of mornings and breakfasts in bed arriving on wooden trays, and captions speaking of God’s blessings. There are airport selfies with luxury backseats, and different trips not funded from personal pockets, carefully arranged pictures and performance that make even borrowed clothes and accessories look like old money.

Everyone seems to be winning effortlessly online, but offline, it is another story.

If you scroll for long, a quiet pressure creeps in. what comes to mind is: If your mates are living their best lives, what excuse do you have for struggling? If everyone else is booking flights, buying cars, starting businesses, and glowing up in “soft life”, why are you still trying to survive till month-end? The comparison is understated but endless, and it leaves many people feeling like failures in private while congratulating others in public.

Behind many soft-life posts are hard truths that never make it to the timeline. The vacations were funded by debt, the designer bags borrowed and the CEO title is for a business that has not made profit in months.

And the happy couple posting anniversary photos? Those ones are barely speaking, but they will never put out the details. The details are cropped out and hid under motivational captions.
Social media these days does not reward honesty; it rewards the vibe and look.

Read Also: When Parents Become Influencers: Children, Consent and Content in Nigeria

The pressure to look successful has become more intense in a country where economic realities are harsh and opportunities are not the same. When jobs are scarce and inflation is high, success becomes something to display instead of something to build slowly. Online validation takes the lead, likes become proof that you are doing well, even when your bank account tells a different story.

And, there are some sets of people, successful or not, who are not fans of showing off on Social-media. Once they show up with nice picture just to keep memories, billings rush in as direct messages, people expecting too much from them with the thought that they have made some money. That is how much people with fake soft life has influenced the public’s thoughts.

For some, this pressure turns dangerous. While for some self-acclaimed ‘soft-lifers’, they overspend to keep up appearances, saying yes to lifestyles their income cannot sustain. Others fall into quiet anxiety, feeling they are behind in life because their progress does not look attractive. There are those who abandon their dependable sources of living to chase trends that promise instant success, only to end up more lost than before.

However, the soft life was never meant to be a lie. Real softness is not always pretty. Sometimes it looks like staying home because you cannot afford to go out, and choosing not to feel ashamed about it. Sometimes it is logging off social media because comparison is taking away your peace. Sometimes it is admitting you are tired, confused, or still figuring things out. True softness is internal before it is external.

The most honest lives are the ones that are the least documented.

The question we should be asking is not who is living softly, but who is living truthfully. Are we building lives we actually enjoy, or just creating feeds that impress strangers?

There is nothing wrong with enjoying good things or sharing your wins, but when success becomes a show for the internet, it loses its meaning. A soft life built on lies eventually turns into pressure, debt, and burnout.

Maybe the real flex in this digital age is not looking successful, but being at peace with where you are whether or not it trends.

The post Soft Life or Soft Lies? The Pressure to Appear Successful Online appeared first on Afinju FM.

However, before it evolved into what is now known as Fuji, the genre was originally called Wéré. In 1958, Wéré was performed during Ramadan to wake Muslims for Sahur (early morning meal) in the Masewele area of Mushin, Lagos, under the leadership of Muraina Ajao. It was during this period that a young Sikiru Ololade Ayinde Balogun, popularly known as Ayinde Barrister, developed an interest in music at the age of 10.

Ayinde Barrister was born on 9 February 1948 into the family of Salawu Balogun, a trader from the Dakeja compound in Ayeye, Ibadan. He attended Muslim Mission School and later Model School in Mushin. In 1961, he briefly studied typing and other commercial courses at Yaba Polytechnic, Lagos, but dropped out due to financial constraints.

Thereafter, Olanbiwonninu, as he was also known, worked as a typist for Nigerian Breweries. He later enlisted in the Nigerian Army as a clerk and served in the 10th Brigade of the 2nd Division under Colonel Adeniran. During the Nigerian Civil War, he fought in Awka, Abagana, and Onitsha. At the Onitsha front, he was shot in the leg. According to his account in one of his songs, it took three days before he was rescued from the battlefield at Abagana. Following the incident, he was posted to the Army Signals Headquarters in Apapa and later to the Army Resettlement Centre in Oshodi, Lagos.

In November 1976, Barrister officially left the Army as a Substantive Sergeant to focus fully on his music career. He subsequently established the Supreme Fuji Commanders, a 34-member band of percussionists and vocalists at a time when music bands were typically composed of just four or five members.

In 1966, under the stage name Barry Wonder, he released his first LP (Long Playing) record. During this period, he regularly performed with his band around Ebute-Meta and across Lagos, mostly at Muslim events. He released early records such as Ile Aiye Dun Pupo/Love in Tokyo, India Sound (1976), and Isimillahi (1977) under the African Songs Limited label before establishing his own record label, Siky-Oluyole Records.

Ayinde Barrister infused traditional musical genres such as Apala, Sakara, and Awurebe into Wéré music and is credited with renaming it Fuji. According to reports, he derived the name from a travel poster advertising Mount Fuji, the highest peak in Japan.

Read Also: Fatai Rolling Dollar: The Roller Coaster Journey of a Juju Maestro

Through his music, Barrister addressed social issues, politics, governance, philosophy of life, and the propagation of Islamic teachings. He was also widely celebrated for his exceptional praise-singing skills.

Mr. Fuji, as he was fondly called, became a source of information, editorial commentary, and entertainment for many Nigerians. In 2013, Professor Olakunle Lawal conducted an academic study titled Sikiru Ayinde’s Music as Commentary on Society, describing Olanbiwonninu’s works as sources of entertainment, religious propagation (Islam), social justice advocacy, economic reflection, democratic discourse, information, education, and moral instruction.

By the 1980s, Ayinde Barrister and Fuji music had gained national acceptance across religious and ethnic divides. He went on to release several successful albums under his label, earning immense fame. These included Iwa (1982), Nigeria (1983), Fuji Garbage (1988), and New Fuji Garbage (1993). His later works included the popular album Reality (2004). In 1982, he was involved in a widely publicized rivalry with fellow Fuji artist Ayinla Kollington.

His outstanding musical talent and cultural influence earned him international recognition. He reportedly received honorary American citizenship in recognition of his contributions to music and culture, particularly following successful performances in the United States. In 1983, he was awarded an honorary PhD in Music by the City University of Los Angeles. In 2006, he was conferred with the national honour of Member of the Order of the Federal Republic (MFR) by President Olusegun Obasanjo.

Barrister was also honoured by Mayor Joseph R. Paolino Jr. of Providence, Rhode Island, who presented him with the Key to the City of Providence. He immortalized this recognition in one of his songs, singing: “Ni Rhode Island l’America, honorary citizenship no fi fun mi, Key to the City of Providence, Mayor Joseph Paolino lo fi fun mi.” Some accounts also state that he received the “Key to the State of Florida” and honorary recognition following the success of an album reportedly recorded at Disney World.

Beyond awards and accolades, Barrister’s true legacy lies in the generation he inspired. Fuji heavyweights such as Wasiu Ayinde also known as K1 De Ultimate, Akorede Babatunde Okunola referred to as Saheed Osupa, and Wasiu Alabi Pasuma acknowledge his pioneering role in shaping the sound and structure of modern Fuji.

Before his death on 16 December 2010, Barrister released over 70 studio albums, many of which remain relevant today. Some of his notable works include Waya Rabi (Vol. 1), Mecca Special (Vol. 3), London Special (1979), Suru Baba Iwa (1981), America Special (1986), Maturity (1987), Current Affairs (1989), Dimensional Fuji (1993), The Truth (1994), and Reality (2008).

More than a musician, Ayinde Barrister was a cultural architect, a soldier-turned-storyteller who transformed a Ramadan wake-up chant into one of Nigeria’s most enduring musical exports.

And in the story of Fuji, his name remains the headline.

The post Ayinde Barrister: The Architect of Fuji Music appeared first on Afinju FM.

The INEC Chairman, Joash Amupitan, released the timetable at a press briefing held in Abuja, announcing that the 2027 Presidential and National Assembly elections will hold on February 20, 2027, with governorship and State Houses of Assembly polls scheduled for March 6, 2027.

Amupitan emphasised that the timetable is anchored in the provisions of the 1999 Constitution and the Electoral Act, 2022, as amended, while also dismissing earlier claims that the electoral body had already issued the election schedule before the formal announcement.

Read Also: 2027 Elections: INEC Warns Politicians Against Early Campaigns

The announcement comes after INEC had earlier stated on February 4 that it had completed the election timetable and schedule of activities, despite delays in the passage of the amended Electoral Act currently before the National Assembly.

While INEC noted that it had submitted its proposed schedule to lawmakers, it acknowledged that some items in the schedule of activities could be affected depending on when the amended Electoral Act is eventually passed.

The post INEC Fixes Dates for 2027 General Election appeared first on Afinju FM.

According to The Small and Medium Enterprises Development Agency of Nigeria (SMEDAN), SMEs account for 96 percent of businesses, contributing 48 percent to Nigeria’s gross domestic product (GDP) and employing 84 percent of the workforce.

A report published by the Nigerian Bureau of Statistics, NBS, revealed that about 80% of small businesses do not survive beyond five years, due to factors like poor infrastructure, poor or no access to financing, little business knowledge, competition and visibility, government regulations, and polices. However, this does not mean that there are no successful businesses in Nigeria.

The pressure that comes with inflation and the significant rise in operational costs has caused many business owners to try to enter a persistent struggle to find a balance between reducing profit and unpredictable expenses that come in their day-to-day activities.

A very common challenge most small business owners face is the unavailability of funds. It is very difficult for a large number of small business owners to have access to affordable loans. Many cannot afford the interest rates given by banks, leading them to rely solely on personal savings or unreliable lending platforms. Olusegun Emmanuel, a Graphics and Printing Artist and CEO of Fadex kreatifs and kreatifs Hands Academy, explains:

“The reality is that many entrepreneurs are not failing because they lack ideas, but because they lack access to financial support.

For instance, purchasing a machine for digital printing of banners and souvenirs cost 4million naira, so an entrepreneur who fought his way to purchase this machine needs more to service this machine, yet the year gap to procuring another one is thin.”

Another layer of this struggle is poor infrastructure, including irregular power supply, bad roads that affect logistics, and so on. The rise in fuel costs has significantly affected day-to-day operations, making small business owners fail in meeting up with deliveries. Speaking on some of these challenges and how he has managed them, Emmanuel said;

“Running a creative business in Nigeria comes with daily challenges such as unstable power supply, fluctuating cost of materials, and managing client expectations in a tough economy. There’s also the pressure of maintaining quality while still keeping services affordable for clients. Adaptability is key. I’ve had to invest in alternative power solutions and carefully plan production schedules. For rising costs, I review pricing strategically and maintain relationships with trusted suppliers to get better deals. I also try to stock more materials in advance when prices are stable and stay flexible with business operations.”

In a community where hundreds of people are in the same business, competition becomes what many deal with. Small business owners often have to come up with innovations so they can still be recognized in their field, and offer discounts just to keep customers patronizing them.

Many small business owners only start a business with little or no knowledge of business management. Lack of adequate business management knowledge is one of the greatest factors affecting the average small business owner in Nigeria. It reflects in how they run the business without structure or adherence to industry best practices. It also shows in their lack of people management skills, which often results in low profits.

Talking of government programs targeted at supporting SMEs, many small business owners struggle to apply due to complex administrative procedures and lack of awareness of governmental initiatives. Procuring certificates, licences, registrations, and other permits give legitimacy to their businesses is also another bottleneck that limits them.

Speaking on the support lacking from the government, Emmanuel said, “Access to affordable funding and consistent policies that truly support small businesses is still lacking. Many entrepreneurs struggle with high-interest loans, limited grants, and little structured support for creative businesses. Stable electricity and better infrastructure would also go a long way in helping businesses grow sustainably.”

As these struggles continue to hinder business activities in Nigeria, entrepreneurs are still finding ways to create strategic means to help them adapt to these struggles and thrive amidst them. Entrepreneurs now use Digital tools, online marketplaces and social media platforms to their advantage, helping them grow new clients and increase sales.

“Social media has helped me attract clients, showcase my work, and build a strong brand presence. I also use design software, online communication tools, and digital payment systems to make operations smoother and more professional. Training and learning online on YouTube have also helped me stay competitive”, says Emmanuel.

Read Also: World Bank approves $500m MSME finance package for Nigeria

Keeping a small business running smoothly is beyond having enough finances; it is also about investing time, energy, and emotions, finding ways to keep the business running effectively, always at the expense of their personal life. The stories in this piece reflect resilience, creativity, determination, and the unbending spirit of entrepreneurs that have strongly driven Nigeria’s economy forward regardless of the difficulties.

Every business owner believes that every day is a day to keep showing up to their business, making ends meet, taking risks, while trying to stay sane in a gravely challenging marketplace where obstacles are overwhelming; just like swimming against a strong current.

The post Small Businesses, Big Struggle: What it Takes to Run a Business in Nigeria Today appeared first on Afinju FM.

But somewhere between the ring light and the repost button, there is a quiet question of “when parents become influencers, who speaks for the child?”

Across Nigeria, social media has evolved from a place of connection to a place of attention-seeking. Parents, especially the young, digitally knowledgeable ones have discovered that family life sells. Birthday parties, school runs, bedtime routines and even discipline moments have now become content. Children, often too young to understand the camera pointed at them, become central characters in their parents’ online brands.

For many Nigerian parents, documenting their children’s lives is not new. Photo albums, video tapes and framed portraits have always existed, only the rate and permanence have increasingly changed. Unlike the family album tucked away in a cupboard, today’s posts live forever, searchable and shareable by strangers.

A child’s embarrassing moment, which was once a private family joke, can now rack up thousands of views. A child’s tears can now become viral content, and while the internet moves on quickly, digital footprints do not.

Some parents argue that they are simply celebrating their children. Others admit, quietly, that the numbers matter, saying likes translate to influence while, influence helps build a strong brand; and, in an economy where every extra income counts, children sometimes become the most engaging asset on the page.

Read Also: From Aso-Ebi to Intimate Vows: The Changing Face of Nigerian Weddings

Consent is at the heart of the debate, yet it is also the most complicated part. Can a three-year-old agree to being posted online? Can a child truly understand what it means to have their image consumed by millions?

In Nigeria, the idea of children having autonomy over their image is not strong yet. Culturally, parents are seen as the ultimate decision-makers. “It’s my child” is usually the argument. But the digital age demands new thinking.

A child who grows up to find their childhood mischief, punishments or vulnerabilities archived online may not share their parents’ enthusiasm. What was once “cute content” may feel like too much exposure. What was once a joke may become a source of shame.

The tragedy is that this conversation often begins when it is already too late, when the content has spread, screenshots taken, and control lost.

There is also the part of security. “Self-acclaimed” influencer wives of well-to-do husbands expose their children to the public all in the name of showing-off wealth for influence and likes. Showing what the children are being fed at home and the lunches they take to school, the schools they attend and many more, exposing not just the kids, but vital details about their families to people with bad intentions.

Not all family content is harmful. Many Nigerian parents share responsibly, blurring faces, limiting details, and focusing on moments rather than identities. The concern arises when content exploits vulnerability.

Videos of children being scolded publicly. Clips of minors re-acting adult jokes they do not understand. Content built around a child’s disability, poverty, or emotional distress. Boundaries blur in the race for engagement. The internet rewards what is dramatic, emotional and shocking.

Unfortunately, children cannot opt out of this system. They cannot say, “Please don’t post that.” They cannot negotiate contracts or protect their future selves.

Nigeria’s legal structure around child rights exists, but enforcement in the digital space remains weak. The Child Rights Act prioritises the best interest of the child, but social media is a boundary it hardly touches.

Platforms have policies, but regulations have not fully captured subtle violations of child rights like this one. Therefore, the responsibility falls heavily on parents, whose influence should come with accountability, but the influencer economy rarely pauses to ask ethical questions.

This is not a call to shame parents or ban family content, but a call to pause and reflect if the content is for the child’s memory or for metrics, and if the content will not haunt the child in future. Parents need to ask themselves: “Would I be comfortable if this video resurfaced when my child is 18? Am I protecting my child, or performing for an audience?”

We need to let children be children. Children deserve privacy, even from love. They deserve to grow, make mistakes and find themselves without an audience watching their every move

As Nigerian parents continue to navigate the digital world, they need to raise children, not content. Document memories they would see and be happy and not their vulnerabilities. They need to build platforms for their children and not footsteps that may one day become burdens to them.

The post When Parents Become Influencers: Children, Consent and Content in Nigeria appeared first on Afinju FM.

There was a time when Nigerian homes woke up and slept with radio. From the crack of dawn, fathers tuned in for the news, mothers listened while cooking, students rushed home for evening entertainment shows, taxi drivers blasted their favorite stations, and shop owners also adjusted antennas just to get a clearer signal. It was a defining era when radio dictated what the audience would consume in music and entertainment.

Radio Stations like Cool FM, RayPower, Rhythm FM, Wazobia FM, and many others became entertainment headquarters and the on air personalities (OAPs) became household names.

There was the popular voice of Jacob Akinyemi Johnson (JAJ) who was a dominant force on NBC’s AM/FM Stereo in the 80s, known for “The Dance Party” and “Nite Flight; Mani Onumono was the Key voice in the 1980s reggae scene on radio; Richard Onaghise (Manrichie) featured prominently in early FM reggae music programming; Smart Otemu, Boniface Onogwu, Nelson Edosovba, Ruime Effetie, and Shea Martins, among many others.

Back then, an On-Air Personalities (OAP) did not just play songs, they decided the hits. If an OAP loved a track and gave it heavy rotation, it became popular overnight. If they ignored it, the song could disappear and no one ever got to know it.

Upcoming musicians carried CDs from one station to another, hoping for just one spin. It was believed that a single mention during a drive-time show could jumpstart blissful musical careers.

Some of the early Nigerian musicians who gained fame through radio are:

i. Bobby Benson: Widely credited with pioneering the popularity of local music on radio, his 1958 hit “Taxi Driver” was a massive success.

ii. Dr. Victor Olaiya: Known as the “Evil Genius of Highlife,” his band, the Cool Cats Orchestra, became a household name through radio in the 1950s and 60s.

iii. I.K. Dairo: A pioneer of Juju music, he became immensely popular in the early 1960s with his band, The Blue Spot, frequently featuring on radio.

Beyond music, OAPs also shaped pop culture. They introduced slangs that people used on the streets, settled debates, cracked jokes that became catchphrases, and hosted conversations that connected strangers across cities. From early morning motivation shows to late-night love dedications, radio voices were part of daily life.

Great OAPs knew how to paint pictures with words, they could make you laugh during traffic or keep you awake during the midnight shift. Each personality became a brand which bestowed powers of influencing.

Then came social media with such freedom that changed the world. With the popularity of social media came a decentralization of influence, as more people could now use pictures, videos and instant comments to build influence outside of radio.

Content creation became possible for everyone, and this forced OAPs and radio stations to evolve and move online, blending the old broadcast styles with digital platforms. Loyal fans followed to put a face to the voices, and the influence of radio began to take a new form.

Today, social media has widened the scope of influence, handling content creators, streamers, other social media personalities, and even the artistes themselves the opportunity to build direct influence that helps them promote their songs.

However, Radio, through its quick evolution, has somewhat remained powerful, and maintained its influence in Nigeria, especially as it still has the widest and cheapest reach to the largest population of Nigerians.

In markets, cars, farms, and rural communities across the country, Nigerian OAPs continue to entertain and shape what society listens to, maintaining its capacity to boost creative careers.

Famous artistes still bow to the power of radio’s influence and embark on radio tours to promote their music. Radio OAPs are also able to wield influence within entertainment circles, thus enjoying a new dimension of influence, different from what radio was.

Long after the hashtags fade and the screen goes dark, that familiar voice of “Good morning, Nigeria” on Radio continues to reach the farthest corners of the country, wielding raw influence beyond the scope of social media.

The post Music and Pop Culture: The evolution of Radio’s Influence appeared first on Afinju FM.

As is the practice, you could always tell a Nigerian wedding is coming up weeks before the day. WhatsApp groups will spring up on you without notice, tailors would suddenly become impossible to reach while rolls of lace and Ankara would change in prices just because an “Aso-Ebi is out”.

For decades, Nigerians weddings have been communal affairs. Loud, colorful, emotional and unapologetically big. They are not just about two people choosing themselves, they are more about families introducing themselves, communities gathering and cultures proudly showcasing themselves. Weddings in Nigeria became hosting the world.

Overtime, weddings have become louder, bigger and more competitive. Guests dressed to outshine the couples being celebrated. Families deliberately trying to outshine one another.

Couples?  They smile through exhaustion while bills quietly await as they have had to spend beyond their means and affordability, because to many, weddings are not meant to be small.

Quietly, steadily, Nigerian weddings are shifting to become about the fanfare, and not the union. Traditionally, Nigerian weddings, especially in the South, are designed with one goal in mind: inclusion. The more people you invited, the more successful the celebration appeared. This simple foundation has snowballed into carnivals of great financial implications.

Event centers have become expensive. Chairs now spill onto the streets. Large pots of different foods – jollof rice, amala with abula, pounded yam with different native soups – simmer from dawn. Different plates of intercontinental dishes, as well as small-chops and appetizers are on the roll call at events.

The unannounced shift did not come with fanfare. There was no collective decision, it crept in through desire for social validation, all resulting to fatigue.

Intimate Vows, Deeper Moments

In the midst of these jamborees, some young intending couples have chosen to ask uncomfortable questions. Does a wedding really need thousands of guests? Does love require borrowed money?  Does marriage have to begin with debt?

Economic difficulties is playing its part in jerking some young persons back to reality. But beyond money, values are shifting, as many couples want meaning over show; they want presence and not performance.

And so, intimate weddings have begun to reappear quietly with small ceremonies, close friends, family only, and sometimes no Aso-Ebi at all. Recently, the practice for people who prefer comfort over pressure is: No live band, sometimes no spraying, just vows, food, laughter, and a sense of calm rarely associated with Nigerian weddings.

At these quieter weddings, something else happens. The couple is present.

They are not just rushing between tables or posing endlessly for cameras. They sit, they listen, they speak and breathe. Guests actually hear the vows and parents shed unguarded tears.

Read Also: Nigeria’s Loud Online Activism and Quiet Reality

These weddings may lack the noise of talking drums or the drama of coordinated outfits, but they offer something else, emotional clarity.

Holding Tradition Without Being Held Hostage

For many couples, this intimacy is not rebellion against culture, but a re-interpretation of it. After all, tradition was meant to serve people, not suffocate them.

Importantly, this shift does not mean Nigerian weddings are abandoning tradition, but it means that they are reshaping it.

Some couples still honour cultural rites but tune down the guest list. Others keep Aso-Ebi but simplify the reception. Many blend the old and the new, traditional engagement one day, quiet white wedding the next. Some blend all the ceremonies into one day, but brace themselves up for the stress that comes with it. The idea is balance.

A wedding can still reflect heritage without becoming a financial burden. It can celebrate community without losing intimacy. It can be joyful without being overwhelming.

In many ways, Nigerian weddings have become mirrors of the society itself, a place where tradition and modern reality negotiate daily.

The rise of intimate weddings shows that a new generation is choosing intention over impression. That love no longer needs noise to be valid. That marriage is being reclaimed from display and returned to commitment.

For each person, there is what works for them. Have a loud wedding if you can afford it, a minimalistic one if you cannot afford one. If you cannot afford a loud or minimalistic wedding, an intimate vow is a very good idea. What would be foolish is cutting one’s cloth according to someone else’s size rather than what one can fit in.

There will always be loud weddings in Nigeria. Celebration is in our DNA. But now, there is room for quiet joy too.

From Aso-Ebi to intimate vows, the Nigerian wedding is evolving, not losing its soul, but learning to breathe. And maybe in the end, that is the most beautiful transformation of all.

The post From Aso-Ebi to Intimate Vows: The Changing Face of Nigerian Weddings appeared first on Afinju FM.

• Oyinkansola Sarah Aderibigbe Professionally known as Ayra Starr a Nigerian singer and songwriter, who officially joined Mavin Records on January 21, 2021, when she was unveiled by label boss Don Jazzy. She was signed to the label in 2020 after being discovered on Instagram, and her self-titled debut EP was subsequently released on January 22, 2021, and its lead single “away”, which spent two consecutive weeks at number 4 on Nigeria’s Turn Table Top 50 chart; the song also peaked at number 17 on the Billboard Top Thriller Global Chart. It was followed by the release of her debut studio album titled 19 & Dangerous in 2021.
• Folarin Temiloluwa Odunlami, Nigerian singer-songwriter and Afrobeats artist known professionally known as Fola pondis, signed a recording contract with Bella Shmurda’s record label, Dangbana Republik, on October 11, 2024. Following this, he released his debut EP titled ‘What a feeling’ in December of that same year. Since joining the record label he has collaborated with big artistes like, Wizkid, Kizz Daniel, Zlatan, BNXN, and the record label boss, Bella Shurmda.
• Chimamanda Pearl Chukwuma profesionally known as Qing madi, a Nigerian singer-songwriter and a dancer. She is signed to Columbia Records, working with Bu Vision & Jton Music Publisher, though she previously had deals with Richiemusic Emipire in 2021 but left. Qing Madi gained widespread recognition after her 2022 single “See Finish” and its 2023 follow-up, “Ole”, featuring BNXN

The list continues, including many more artistes who are successful. But behind the fame and the red carpets, not every deal is what it appears to be. For some, the contract that promised stardom comes with private pains – low royalties, limited creative freedom, and obligations that can feel more like chains than opportunities. For every artist who rises to global acclaim, there’s another struggling under the weight of a deal that did not serve them.

This is the reality of record deals – a blessing to some, and a trap for others. And as the music industry evolves, with streaming, independent releases, and social media platforms leveling the playing field, the question becomes more urgent than ever: is signing a record deal truly the path to success, or is it a gamble that could cost more than it gives?

The Blessing: When a Record Deal Changes Everything

For many young artistes, a record deal is more than just a contract, it’s the launchpad that transforms a dream into reality.

Imagine spending months recording songs in a small bedroom studio, struggling to pay for beats, mixing, or promotion. Then, suddenly, a label steps in, offering financial backing, access to professional producers, and a platform to share your music with the world.

The benefits are undeniable. Labels provide artistes with resources that are otherwise out of reach like marketing teams, social media strategists, and video directors. This network doesn’t just amplify the music, it builds a brand. A single well-promoted song can skyrocket an unknown artist into the public consciousness.

Moreover, record deals offer credibility. Being signed sends a signal to the industry, and to the fans. Being signed gives opportunities such as collaborations with established artists, endorsements, and sold-out shows which often come more easily with a label’s backing.

Examples of Popular Nigerian Record labels are Mavins by Don jazzy, YBNL (Yahoo Boy No Laptop) by Olamide, DMW (Davido Music Worldwide), Alapomeji Ancestral Records by 9ice, Star boy Entertainment by Wizkid, among others.

The Trap: When a Record Deal Becomes a Cage

Not every story is a fairy tale. For some artistes, a record deal can quickly shift from a blessing to a burden. Many contracts are complex and heavily favor the label. Low royalties, loss of ownership over music, and long-term obligations can leave artists trapped, unable to freely release new songs or fully benefit from their own work.

Some deals include repayment clauses, where the upfront money given to the artist, must be paid back from future earnings. This means that even if a song becomes a hit, the artist may see very little profit. Creative control can also become a battlefield.

The music industry is littered with stories of talent lost to restrictive contracts. Artists who once dreamed of fame find themselves negotiating exits, fighting over rights, or struggling under the pressure to constantly produce hits. In these cases, the record deal feels less like a springboard and more like a cage.

Examples of some young Nigerian Artistes that terminated their deals with the record labels are:

• Mohbad (formerly of Marlian Records)

Ilerioluwa Oladimeji Aloba popularly known as Mohbad officially terminated his contract after claiming the label did not pay him royalties and failed to fulfill agreed terms of their 2019 agreement.

He accused the label crew of physical attacks and said his request to change his manager (who was related to the label boss) was met with violence. After his exit, his public disputes drew widespread attention to how young artists can struggle with record label terms.

Mohbad’s situation became controversial because of how public and messy the conflict was, and because of his untimely death.

• Lyta (formerly associated with YBNL Nation)

Babatunde Rahim known as Lyta was never formally signed with a written contract, according to Olamide, but he was promoted as part of the YBNL “family”.

He left in 2019 because he wanted to release music more frequently and didn’t want to wait for the label’s promotion schedule. Lyta also reportedly wanted better opportunities and a more active release strategy than what he felt the label was offering.

Finding the Balance: Is It Worth It?

The truth is, a record deal is neither inherently good nor bad. It’s a tool, how it affects an artistes depends on the terms, the support system, and the artiste’s knowledge of the industry. Some succeed brilliantly under a label, while others flourish independently, using social media, streaming platforms, and Do it yourself (DIY) promotion to reach audiences on their own terms.

For young aspiring artists, the lesson is clear – research, read contracts carefully, and understand your worth before signing. A record deal can be a blessing if approached strategically, but without preparation, it can quickly become a trap.

In the end, the journey of music is personal, and success can take many forms, sometimes with a label, sometimes without a label. What matters most is that the artistes retain control of their passion, their sound, and their dreams.

The post Record deals: A blessing for young artistes or a trap? appeared first on Afinju FM.