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  • Dapper challenges Shallipopi, T.I Blaze, Seyi Vibez to independent audit

    Dapper challenges Shallipopi, T.I Blaze, Seyi Vibez to independent audit

    Dapper Music founder Damilola “Dapper” Akinwunmi has responded to recent allegations from former signees Shallipopi, T.I Blaze and Seyi Vibez, challenging them to submit their disputes to an independent forensic audit.

    In a series of posts on X on Saturday, August 15, Dapper rejected allegations of financial and contractual wrongdoing and said the records needed to establish what happened are available.

    “I have nothing to hide. The records exist. The authorities have them. Let the process establish the truth,” he wrote.

    Dapper also accused his former artists of taking their grievances to social media while disputing his account of their departures.

    “Don’t come online and spill rubbish narratives, & lies, only to mislead the public!” he wrote in another post, adding that the artists “chose to leave” and should “move on.”

    He appeared to direct a separate series of posts at Shallipopi, whom he addressed as “Mr. Elon”, referencing the artist’s 2023 hit “Elon Musk.”

    Dapper claimed that Shallipopi failed to attend a previously scheduled appearance while he was present, questioning the artist’s calls for the matter to be addressed in court.

    He also challenged what he described as conflicting claims about their contractual relationship.

    “You claim here that I forged your signature, but in your public statement in 2024, you claimed that you were pushed into a deal with Dapper Digital. Which is it???” he wrote.

    Shallipopi ended his agreements with Dapper Music and Dvpper Digital in December 2024, alleging a breach of trust, financial mismanagement and a lack of transparency. Among his claims was that Dapper Music had pushed him into a publishing arrangement with Dvpper Digital, which he said was owned by the same person or persons behind Dapper Music.

    Dapper is now asking the parties to move the dispute away from social media and into an independent examination of the relevant financial records and contracts.

    He said an audit had already been conducted by what he described as a reputable company and suggested commissioning another review if there were still questions over the accounts.

    “We already did an audit from a reputable company! Surprise Surprise who owes who?” he wrote.

    Dapper then named several accounting and legal firms, including KPMG, PwC, Deloitte, Templers, Aluko & Oyebode, Olaniwun Ajayi LP, and Udo Udoma & Belo-Osagie, suggesting that any of them could be engaged to conduct a forensic review.

    “Let them run a forensic analysis and interpret both the accounts and the contract for us, and tell you I cheated you?!” he wrote.

    His comments come as disputes between Dapper and several former artists have resurfaced, with allegations involving contractual terms, financial dealings and the handling of artists’ catalogues. Dapper has consistently disputed claims of wrongdoing and previously maintained that its artist agreements were entered into with transparency and legal representation available to the artists.

    The latest exchange leaves the central financial and contractual questions unresolved, but Dapper’s proposed audit could provide an independent way of examining the competing claims if the parties agree to one.

  • Nasty Guerrero challenges the music industry’s approach to AI-assisted music

    Nasty Guerrero challenges the music industry’s approach to AI-assisted music

    Latin digital artist Nasty Guerrero has criticised the music industry’s growing efforts to regulate and restrict AI-assisted music, arguing that the debate is increasingly centred on control, ownership and revenue.

    In a statement, the project acknowledged platforms such as Suno for making AI music tools more accessible, but said its own music involves human producers, musicians and songwriters. Nasty Guerrero said technology is used as a tool within its creative process rather than as a replacement for the people involved.

    The project also disputed the idea that the use of AI or other digital tools should determine whether music is considered authentic. It argued that commercially released music lacking originality existed long before generative AI became part of the music-making process.

    Nasty Guerrero further raised concerns about the economics of independent music, arguing that independent creators are not receiving fair royalties while established industry structures continue to take a share of music revenue. The statement did not provide specific figures or evidence to support those claims.

    The project said its music remains rooted in culture and storytelling and that it does not intend to continue defending its creative process in response to criticism of its use of technology.

    Nasty Guerrero’s comments come amid an ongoing industry debate over how AI-generated and AI-assisted music should be identified, distributed and compensated. The statement represents the project’s position on that debate.

  • OHNomad blends Middle Eastern, classical and jazz influences on “Universal Connection: Rosenwald”

    OHNomad blends Middle Eastern, classical and jazz influences on “Universal Connection: Rosenwald”

    OHNomad has released “Universal Connection: Rosenwald,” a composition that brings together Middle Eastern musical influences with elements of classical and jazz.

    The piece is part of OHNomad’s broader “Universal Connection” series, which explores different cultural and musical references through individual compositions. The series has previously included works inspired by Japan and other places and figures.

    OHNomad began developing his music during the COVID-19 shutdown in 2020, drawing on experiences from earlier backpacking trips through countries including India and Tibet. Those travels influenced his approach to combining Eastern musical ideas with classical, jazz and metal.

    The artist, whose name is Owens Huang, premiered his first sonata, “Place of Origins,” at Taiwan’s National Recital Hall in 2023. In 2024, he presented “The Silicon Island” in Taiwan and “Universal Connection: Rosenwald” in Mountain View, California.

    “Universal Connection: Rosenwald” follows his later work, including “Universal Connection: Junko,” which was presented in Tokyo in 2025, and “The Awakening,” a composition centred on movement between conscious and unconscious states.

    The track is now available on streaming platforms.

  • MENTAVIBE Brings Swahili Lyrics and Afro-Pop to “POA POA POA!”

    MENTAVIBE Brings Swahili Lyrics and Afro-Pop to “POA POA POA!”

    MENTAVIBE has released “POA POA POA!”, an Afro-Pop and Afrobeats track that combines African-inspired rhythms with electronic production and lyrics in Swahili.

    The title, which translates roughly to “Great!” or “Everything is fine,” reflects the song’s focus on letting go of anxiety and fear and staying present. The chorus includes the phrase “Huru Moyo Wako,” meaning “free your heart.”

    Produced and written by Juergen Joe Bauer, the track pairs organic beats with electronic textures and pop-influenced production. The project’s music incorporates Swahili lyrics and African-inspired rhythms within a contemporary electronic setting.

    MENTAVIBE is an independent music project created and produced by Bauer.

    “POA POA POA!” is now available on streaming platforms.

  • ADDIT explores devotion on “Forever in My Heart”

    ADDIT explores devotion on “Forever in My Heart”

    ADDIT has released “Forever in My Heart,” a house single featuring Joysh and Aramis Cartam.

    The song centres on the reassurance of staying connected to someone through difficult moments. Its lyrics describe holding onto that person when feeling isolated or overwhelmed, with the recurring line “Forever in my heart, forever in my soul” serving as the song’s central refrain.

    “Forever in My Heart” follows ADDIT’s 2025 releases, including “Cause I Love You,” “Sippin’ on Tequila” and “Dance with Me.”

    The track is now available on streaming platforms.

  • iQoniK Blends Liquid Drum & Bass and Emotional Soundscapes on “Love in the Sound”

    iQoniK Blends Liquid Drum & Bass and Emotional Soundscapes on “Love in the Sound”

    Ottawa-based drum & bass producer iQoniK has released “Love in the Sound,” a liquid drum & bass track running at 172 BPM.

    The song opens with a soft vocal section before building into a fuller arrangement driven by fast breakbeats, melodic elements and bass. The production follows the more melodic side of drum & bass, contrasting its high tempo with a more emotional approach.

    “Love in the Sound” follows several recent releases from iQoniK, including “Weightless,” “Wanna Be,” “Throwback” and the Run the Track EP, released in June 2026.

    iQoniK is a Canadian DJ and producer based in Ottawa. His catalogue spans different electronic styles, but he has increasingly focused on drum & bass. He also hosts Booty Bumps, a monthly mix show centred on the genre.

    The track is now available on streaming platforms.

  • Yataro dedicates Afro House track “Ki Ba Ba” to his father

    Yataro dedicates Afro House track “Ki Ba Ba” to his father

    Yataro dedicates Afro House track “Ki Ba Ba” to his father

    Yataro has released “Ki Ba Ba,” an Afro House track dedicated to his father.

    The song combines a relaxed dance pulse with soulful vocals from Wagathoni. Its production is built around rhythmic grooves and a steady Afro House foundation, while the vocal performance adds another layer to the track.

    “Ki Ba Ba” is presented as a personal dedication to Yataro’s father, giving the song a more intimate context beyond its dance-oriented production.

    Yataro’s recent catalogue includes releases such as “You’re My Star,” “Mírame, Mírame,” “Ven y Ataca Taca” and “Eivissa Sun.”

    The track is now available on streaming platforms.

  • ALEXATOR Introduces “Awakening” as the Second Track in Its Expanding Catalogue

    ALEXATOR Introduces “Awakening” as the Second Track in Its Expanding Catalogue

    ALEXATOR has released “Awakening” (002), the second track in the opening chapter of its ongoing music catalogue, ALEXATOR 001–005.

    Rather than organising the project around conventional album, EP or single releases, ALEXATOR assigns each track a number and treats each release as part of one continuously expanding collection.

    “Awakening” is an instrumental electronic track built around melodic electronic production, electric guitars and cinematic elements. The project is intended to create music that can accompany everyday activities including travelling, driving, working and creating.

    The track follows the first release in the ALEXATOR catalogue and forms part of the initial 001–005 sequence.

    The track is now available on streaming platforms.

  • Mayoxe and Emmy Sho reunite on “My Gee”

    Mayoxe and Emmy Sho reunite on “My Gee”

    Mayoxe and Emmy Sho have released “My Gee,” bringing the two Nigerian artists together on a new collaboration.

    The track follows an earlier connection between the artists. Emmy Sho previously featured Mayoxe on “Hope,” released in 2024. Mayoxe’s catalogue also includes “Jah,” “Amazing,” “Flex Tonight,” “2SECS” and “Banuso,” while Emmy Sho has released projects including Hustle Hard EP, Genesis the EP and Struggle And Sound

    “My Gee” marks another collaboration between the pair, extending a musical relationship that began with “Hope.”

    The track is now available on streaming platforms.

  • Seyi Vibez calls out Hilda Baci amid ongoing dispute with Dapper Music

    Seyi Vibez calls out Hilda Baci amid ongoing dispute with Dapper Music

    Seyi Vibez has called out chef Hilda Baci in a series of posts on X as his dispute with his former label boss Dapper Music continues.

    Seyi Vibez and Dapper Music parted ways in September 2024 after the singer had been signed to the label. Hilda Baci has been in a long-term relationship with Dapper.

    In one of his posts, Seyi Vibez alleged that Hilda Baci’s BBL was funded with income generated from the catalogues of artists signed to Dapper Music. He did not provide evidence for the allegation.

    In another post, the singer alleged that he nearly died after eating food prepared by Hilda Baci. He also did not provide evidence to support the claim.

    https://x.com/afrobeatshead/status/2088256454532706456?s=46

    The posts came on the same day that T.I Blaze, another artist signed to Dapper Music, publicly accused the label of licensing his intellectual property without his agreement. T.I Blaze did not provide further details about the alleged licensing arrangement in the post.

    The separate allegations have added to the ongoing public criticism surrounding Dapper Music and its dealings with artists on its roster.