Afrobeats star David Adeleke, popularly known as Davido, has expressed concern about the changing relationships among Nigerian musicians, saying the genre’s financial growth has not been matched by the level of unity that once existed within the industry.
Davido made the observation during an appearance on the Uncut Podcast, where he reflected on the evolution of Nigeria’s music scene and the relationships between artistes.
According to the singer, the early 2010s were characterised by closer relationships, frequent collaborations and a stronger sense of community among artistes.
“Financially, it is a great time doing Afrobeats, but the relationship amongst artists is a failure,” Davido said.
He recalled the period between 2012 and 2013, describing it as a time when musicians regularly spent time together, visited studios and supported each other’s creative projects.
Davido cited the recording of his 2011 hit, “Dami Duro,” as an example of the atmosphere that existed at the time. He said artistes including Wande Coal, Shank and Bigiano were around during the recording process.
“When I recorded ‘Dami Duro’, in the studio was Wande Coal, Shank, Bigiano. They were artists there. We was always in together,” he recalled.
The singer attributed the change partly to the increasing success of individual artistes, observing that many musicians now operate independently.
“Everybody just got too big,” he said.
His comments come as Afrobeats continues to expand its global footprint, attracting international audiences, collaborations and major commercial opportunities. The genre has become one of Africa’s most successful cultural exports, with Nigerian artistes increasingly commanding international recognition.
Davido’s remarks have therefore renewed discussion about the balance between competition and collaboration within the Nigerian music industry.
Having been one of the leading figures in Afrobeats for more than a decade, Davido has experienced the genre’s transformation from its early 2010s boom to its current global prominence.
His assessment highlights a notable irony: while Afrobeats artistes may be enjoying greater financial rewards than before, the camaraderie that helped shape the genre’s earlier years appears, in his view, to have weakened.
