Rising Nigerian star Spyro has intensified his dispute with former label boss Paulo Okoye, responding to financial receipts released by the latter with additional allegations about his treatment while signed to Okoye’s record label. The controversy began following Spyro’s revealing interview on Echo Room, where he detailed financial struggles during his time with the label.
The “Who’s Your Guy” hitmaker, whose real name is Oludipe Oluwasanmi David, acknowledged Okoye’s recently published financial statements but insisted they actually reinforced his original claims about his challenging experiences. Spyro shared a particularly striking incident from his time performing at One Africa in Wembley, where he allegedly found himself stranded in the cold after being ejected from his hotel due to a booking mishap.
Despite the escalating tension, Spyro maintained a measured tone, expressing gratitude for Okoye’s role in his career development while highlighting systemic issues within the industry. He described a complex dynamic where appreciation for opportunities coexisted with significant hardships, including what he characterized as mistreatment by label staff and periods of severe personal struggle.
The dispute began when Okoye, responding to Spyro’s initial interview, released documentation showing approximately ₦12 million in expenditures on the artist’s career. This prompted Spyro to elaborate further on his experiences, including allegations of poor treatment by label employees and periods of financial instability despite the label’s investments.
Vanessa Okoye, Paulo’s daughter, entered the fray by criticizing what she perceived as ingratitude from artists who achieve success. Her comments highlighted the often complicated relationships between record labels and artists in Nigeria’s music industry, particularly regarding the balance between investment and returns.
The controversy has opened up broader discussions about the treatment of emerging artists in Nigeria’s music industry. Spyro’s detailed account of his experiences, including allegations of being treated “like shit” and battling an inferiority complex, presents a stark picture of the challenges facing up-and-coming performers, even within established record labels.
While acknowledging recent positive interactions with Okoye, including a successful tour, Spyro emphasized that his criticism wasn’t primarily directed at his former boss but rather at systemic issues within the industry. He noted Okoye’s frequent absence from the country during his time with the label, suggesting this contributed to management issues.
The situation highlights the complex nature of artist-label relationships in Nigeria’s evolving music industry. While record labels invest significant resources in developing artists, questions about artist welfare, proper management, and fair treatment continue to surface. Spyro’s experience, from being a University of Ibadan graduate to facing what he describes as dehumanizing treatment, raises important questions about industry practices.
This public disagreement between Spyro and his former label represents more than just a personal dispute; it reflects broader issues within Nigeria’s music industry regarding artist development, management practices, and the balance between business interests and artist welfare. As the industry continues to grow and evolve, such controversies may prompt necessary discussions about improving standards and practices for emerging artists.