Obi’s Reform Agenda Rekindles Scrutiny of Nigeria’s Political Wealth

By George Omagbemi Sylvester | Published by SaharaWeeklyNG

“Momodu’s remarks spotlight elite affluence as analysts warn of resistance to cost-cutting reforms.”

Prominent publisher and politician Dele Momodu has reignited debate over the vast wealth attributed to sections of Nigeria’s political class, asserting publicly that certain politicians could raise as much as $500 million at short notice to secure presidential power. Though no names were mentioned, the claim has sharpened national conversations about transparency, accountability, and the true cost of governance.

Nigeria’s persistent struggle with corruption is well documented by bodies such as Transparency International, whose global assessments frequently rank the country low on public sector integrity. The optics of expansive private mansions, luxury assets, and foreign-based lifestyles among political families continue to fuel public suspicion, particularly in a nation grappling with inflation, debt pressures, and widespread poverty.

The controversy unfolds against the backdrop of reform advocacy by Peter Obi, who has consistently argued for cutting governance costs and institutionalizing fiscal discipline. Political economist Professor Pat Utomi maintains that entrenched elites often resist structural reform, describing elite capture as a systemic barrier to democratic accountability. Nobel Laureate Wole Soyinka has similarly warned that democracy without transparency breeds cynicism and instability.

While no specific officeholders have been formally indicted in connection with Momodu’s remarks, the broader issue remains potent: public demand for principled leadership is rising, and scrutiny of political wealth is unlikely to fade as future elections approach.

Benue Seeks Federal Approval to Rehabilitate 400 Repentant Bandits

By George Omagbemi Sylvester 

The Benue State Government has requested the support and approval of the Federal Government of Nigeria to rehabilitate about 400 repentant bandits who have reportedly surrendered in parts of the state.

State officials disclosed that the proposal was formally communicated to federal authorities in Abuja this week, seeking collaboration on a structured programme covering disarmament, deradicalisation, vocational training and supervised reintegration into communities. According to government sources, Benue lacks the financial and institutional capacity to independently execute a comprehensive rehabilitation initiative of that scale.

The development follows intensified security engagements across several rural local government areas that have experienced repeated attacks linked to armed groups. Benue, located in Nigeria’s Middle Belt, has in recent years faced persistent violence associated with banditry and farmer-herder clashes, leading to significant displacement and humanitarian strain.

Authorities indicated that the identities of the 400 individuals are undergoing verification by security agencies before any formal reintegration begins. Federal officials are yet to publicly confirm approval of the request, as consultations between state and national security institutions continue.

Omo-Opeki Set to Make History With Groundbreaking 3-in-1 Fuji Album

By Alhaji Arems (Baba Fuji)

Alhaja Queen Isimot Abake Abiola — widely known as Omo-Opeki — is preparing to enter a new chapter in Fuji music history. In the second quarter of the year, the respected Fuji act will release a bold 3-in-1 album project, a move poised to position her as the first female Fuji artist to accomplish such a feat.

In a genre long defined by male dominance and tradition, the moment is more than a release date on the calendar. It is a cultural statement.

*A Defining Moment for Female Voices in Fuji*

Fuji music, rooted in Yoruba Islamic and Apala traditions, has evolved into one of Nigeria’s most enduring indigenous genres. While women have contributed meaningfully to its growth, large-scale, high-volume album projects have historically been spearheaded by men.

Omo-Opeki’s upcoming 3-in-1 album challenges that narrative.

Releasing a multi-volume body of work at once requires more than studio time. It demands creative stamina, strategic planning, financial investment, and a loyal audience base strong enough to sustain it. For a female Fuji artist to undertake such an ambitious rollout speaks volumes about her confidence, catalog depth, and command within the scene.

Though full details of the album — including title and track list — will be unveiled in a subsequent announcement, industry watchers already view the project as a landmark moment.

*Beyond Music: Leadership and Representation*

Omo-Opeki’s influence extends beyond the stage. She serves as the President of the Elite Women Musician Association of Nigeria (EWMAN), a platform dedicated to supporting and amplifying female musicians across genres.

Her leadership role within EWMAN reflects a broader commitment to representation, mentorship, and structural support for women navigating Nigeria’s music ecosystem. In an industry where access, visibility, and executive opportunities often skew male, her dual position as both active recording artist and association president reinforces her credibility.

Balancing artistry with advocacy is no small task. Yet, it strengthens the symbolism of her forthcoming album. This is not just about breaking a record; it is about expanding possibilities for those coming behind her.

*The Significance of a 3-in-1 Album*

In the Nigerian music space, multi-disc or multi-volume releases are often used to:

• Showcase artistic range and versatility

• Celebrate career milestones

• Solidify legacy within a genre

• Deliver expansive storytelling in one cycle

For Fuji — a genre deeply rooted in live instrumentation, lyrical improvisation, praise-singing, and extended compositions — a 3-in-1 project represents creative endurance. It suggests a body of work substantial enough to justify breadth rather than brevity.

If executed with the depth and authenticity her audience expects, the release could redefine what scale looks like for female Fuji musicians.

*Timing and Industry Context*

The second quarter of the year is often a strategic window for major releases. It allows artists to build momentum ahead of peak festive seasons while giving projects enough runway to breathe.

For Omo-Opeki, the timing may also signal confidence. Announcing such a milestone release well ahead of full details creates anticipation — a calculated move that keeps industry conversations active.

More importantly, it places Fuji back into broader mainstream discussions at a time when Afrobeats continues to dominate global headlines. Indigenous genres thrive when artists take bold steps that demand attention, and this release does exactly that.

*A Cultural Statement in Motion*

At its core, this upcoming 3-in-1 album is about more than numbers. It is about presence.

It speaks to longevity in a genre that respects hierarchy and experience. It reflects resilience in an industry that tests consistency. And it underscores the evolving space women now occupy within traditional music circles.

Omo-Opeki’s journey has been one of steady growth, cultural pride, and unwavering dedication to Fuji’s roots. With this release, she is not only adding to her catalog — she is writing herself into a new chapter of the genre’s history.

As anticipation builds for the full album details in the coming weeks, one thing is already clear: the second quarter will not just mark a release. It will mark a moment.

And for female Fuji musicians across Nigeria, it may very well mark a turning point.