By Ibrahim Kegbegbe
In the global entertainment landscape, rivalries have often defined the trajectory of industries, pushing artists to greater creative heights. From the legendary clashes of Tupac Shakur and The Notorious B.I.G. in American hip-hop to The Beatles versus The Rolling Stones in rock, competition has proven to be a double-edged sword—fueling both artistic excellence and public fascination. In Nigeria, two significant rivalries in different music genres—Fuji and Afrobeat/Hip-Hop—have shaped the industry in profound ways.
The well-documented feud between Alhaji Wasiu Alabi Pasuma (Oganla Fuji) and King Saheed Osupa, as well as the famous clash between Olamide and Don Jazzy, were not just mere personal disputes. They were reflective of the power struggles within the Nigerian music industry, struggles that inadvertently contributed to the growth and prosperity of the industry.
The Fuji Feud: Pasuma vs. Saheed Osupa
For decades, the Fuji music industry has been dominated by two major figures—Alhaji Wasiu Alabi Pasuma and King Saheed Osupa. Their rivalry, which peaked in the mid-2000s, was largely centered around claims of supremacy. Osupa boldly declared himself the “King of Fuji,” while Pasuma maintained his dominance as “Oganla Fuji.” Their lyrical battles—often delivered through diss tracks—stoked heated debates among fans, leading to physical confrontations at concerts and public events.
At the heart of the rivalry was the deep-seated desire to redefine the Fuji genre. Osupa, known for his deep, philosophical lyrics and traditional Fuji delivery, positioned himself as the custodian of authentic Fuji music. Pasuma, on the other hand, infused modern elements into Fuji, making it appealing to a younger, urban audience. His ability to collaborate with hip-hop and Afrobeats artists widened Fuji’s influence beyond its traditional fan base.
However, what seemed like an irreconcilable battle turned into an unexpected alliance when tragedy struck. Pasuma lost his mother, Hadijat Odetola, and in a move that shocked the Fuji community, Osupa paid him a condolence visit. This singular act of respect and brotherhood marked the end of their long-standing feud. Today, their relationship is stronger than ever, proving that even the fiercest rivalries can pave the way for unity.
Afrobeats and Hip-Hop: Olamide vs. Don Jazzy
While the Fuji battle played out on the traditional music front, a similar rivalry shook the modern Nigerian music scene. In 2015, the Headies Awards became the battleground for a heated conflict between Olamide and Don Jazzy. The dispute arose when Reekado Banks, an artist under Don Jazzy’s Mavin Records, won the coveted “Next Rated” award over Lil Kesh, a signee under Olamide’s YBNL.
Olamide, who believed Lil Kesh was more deserving, stormed the stage and made an emotional outburst, famously declaring:
“Street ti take over… Ko ni dafun iya anybody!”
(Loosely translated as: “The streets have taken over… It won’t be well with anyone who disagrees!”)
Don Jazzy, in a swift response while receiving a recognition award, fired back:
“Olamide, if you want the car, come and take it.”
What followed was a bitter online exchange between both camps, setting Nigerian social media ablaze. It took the intervention of billionaire businessman Aliko Dangote to broker peace between the two music powerhouses.
Fast forward to 2025, and the two icons are now on friendly terms, evidenced by Don Jazzy hosting Olamide at his home to celebrate the YBNL boss’s birthday on Saturday, March 15, 2025. Their reconciliation underscores a fundamental truth—rivalries in the music industry, while intense, often lead to mutual respect and an even stronger industry.
The Industry’s Biggest Winners: Nigeria’s Music Legacy
What these rivalries have proven is that the Nigerian music industry thrives on competition. Pasuma and Osupa’s feud pushed Fuji music beyond its traditional base, with Pasuma’s influence helping Fuji gain a global audience. Olamide and Don Jazzy, despite their past differences, have contributed immensely to the Afrobeats revolution, making Nigeria the epicenter of African music.
Both Pasuma and Osupa have raised a new generation of Fuji artists, while Olamide and Don Jazzy have nurtured some of Africa’s biggest stars—Fireboy DML, Asake, Rema, and Ayra Starr, to name a few. Their mentorship and influence continue to shape the sound of African music on the global stage.
Rivalries: A Necessary Evil?
The Nigerian music industry, much like its counterparts around the world, is built on competition. But what sets it apart is its ability to transform conflicts into opportunities for growth. The Osupa-Pasuma and Olamide-Don Jazzy rivalries were once viewed as divisive, but in hindsight, they have contributed immensely to the industry’s prosperity.
Perhaps, rather than seeing these feuds as destructive, we should view them as the fuel that ignites creativity. The world watches as Nigerian music dominates globally, but behind the success are stories of rivalry, ambition, and ultimately—reconciliation.
As the industry continues to evolve, one question remains: Will the next generation of artists embrace the power of rivalry as a tool for progress, or will they succumb to the pitfalls of unnecessary division? The answer will shape the future of African music.
