Business
‘How M.I Abaga almost destroyed my Music career + His many lies against me’ – Rapper, Milli cries out
It’s no more news that Chocolate city rapper, Milli has parted ways with the label over some unsettled disputes between him and the label’s management. Last week when the news broke out, M.I, Who is the current Chairman of the Label, accused the rapper of being too proud to be controlled.
However, contrary to this report, the Victim, Milli has decried M.I’s accusations levied against him and also revealed the main reasons behind his exit from the label.
READ BELOW
Part One
It’s no longer news that the time has come for me to move on from Chocolate City, but until now, no one has heard my side of the story.
It’s been a long journey – one year in 2014 with M.I. writing and co-producing theChairman album, and another year in 2015 being signed with Loopy and Choc City, writing and co-producing the TICBN album, and working on individual Choc City artist projects.
I have a lot of love for my CC family, especially for Koker and Dice, but for me, things didn’t turn out how I thought they would at all… I was getting held back all the time, I wasn’t allowed to put out music like I wanted to, and it was getting really hard to be myself…
I’m not going to say much out there, about what really happened, that’s why I created this private Facebook group. I don’t want to do interviews and talk about what happened, I wouldn’t even want to write all of it down because it’s quite painful.
But I haven’t told anyone what’s been happening, and you guys have been showing me love all this time, even in my absence, so it’s only fair that you know more than everyone else… What I want to share with you will come in five parts and this is Part 1.
I really love you guys and feel so blessed.
Part Two:
I started working on the Childish EP in 2014, and all the tracks on the EP were ready by the end of 2014, but when I got signed to Loopy in January 2015, M.I asked me to go back and re-record the entire EP.
When Mr Audu left in February 2015 and handed over to M.I, I automatically became a Choc City artist. I was told dropping my EP under CC was going to be great for me so I was really excited. But there was a lot going on at that time, so attention shifted from my EP and I was told I couldn’t drop it for the next few months after the handover because I had to wait for the label to reorganise itself. In March, I figured out a way to drop music though, that’s how I started #FreeMusicFridays. But after three Fridays, they pulled the plug on it and said I couldn’t continue putting out free music…
When the handover was completed, we were asked to start putting together the TICBN album in order to promote the Choc City brand, so again I was told to be patient, and I was… I came up with the idea to drop the Childish EP on Children’s Day (May 27th, which is also my birthday), but no one at the label paid attention and M.I didn’t want me to drop it at the end of May because the TICBN Album would still being promoted around that time, so I had to be patient again. Once the TICBN album that I was also working on was recorded and dropped, I still wasn’t allowed to drop the Childish EP, but instead I was asked to pay attention to the TICBN album and promote it, which I did…
\The TICBN album
Around August, after the TICBN promo, it was time for individual artists to drop projects they had been working on before the TICBN album, so I was excited and thought I could finally put out Childish. But then a new rule was invented: New music could only be dropped if it came with a music video… Sigh. More patience.
The music video for Unlooking was shot in September last year but turned out a disaster, a lot of things that were supposed to happen didn’t and it just didn’t look right. I wasn’t proud of it, and you wouldn’t have liked it at all, but I couldn’t afford to shoot another one, and I couldn’t drop Childish unless I dropped a video, so I was willing to live with it. I just wanted to drop my EP… But when M.I saw the footage, he said I couldn’t drop the video yet, because we had to shoot additional scenes. The next shoot was set for January 2016 (four months after the first shoot!), which meant Childish wouldn’t drop till then. One year of waiting, and more patience…
Part Three
In November last year, I realised the year was almost over and I hadn’t put out any single yet. It bothered me, because people were waiting, and with all my frustrations I had to ask that the rule be waived in my case for Unlooking because my video was already shot, but not yet ready. Luckily it was approved but M.I wasn’t fully behind my decision, so I wasn’t very confident. But I knew I had to drop something with or without his support…
I know some of y’all have been asking about the Wizkid feature and if it that was even true. Well, it did exist, and still exists. I did have a song with Wiz, which was also supposed to have M.I on it, but unfortunately he took it from me. M.I gave me a choice – if I wanted to put out Unlooking, I would have to give up the Wizkid feature.
I guess nobody in their right mind would give up a feature with Wiz, but I did believe in Unlooking, and everybody around me wanted me to release it. Also, I didn’t want my first release to be a feature, and I knew I could always find him again, so I gave up the Wizkid track and prepared the release of Unlooking.
I created Unlooking in a really unique way. When I first wrote it, the verses were different, not Pidgin, but M.I asked me to rewrite the song, and had me change it from English into Pidgin, to be more ‘street‘… so I did, even though I never enjoyed remaking the song. But I wanted to make him happy so I would get all the support I needed by the time Unlooking was coming out. Unfortunately, after so much time rewriting it, when I finally dropped the song, he didn’t support me and Unlooking wasn’t pushed.
He didn’t put much effort into promoting it, I could tell, and after Unlooking, all these new dab songs started coming out and the move that I had started was jacked from me… I saw M.I supporting Olamide’s dab and it really hurt me.
I thought M.I was ashamed of me. He was telling people that Unlooking was just 60% of what it could have been, and that the only reason people liked it was because it was in Pidgin. There was no budget for promotion, so I had to hustle by myself, but I am just one person and I can’t win if my own people don’t believe in me…
And all this while, M.I told me to be more like this or that artist, be more ‘street’, and people told me that he kept saying that my music wasn’t gonna fly in Naij… It’s like they had decided my sound wasn’t going to work before they even gave it a chance. It made me really, really sad…
Part Four
In December last year, I met some cool and serious people that not only believe in me and my music, but they also want to see me shine. My new team wanted to work with Choc City but Choc City didn’t want that. All this while, all CC artists were told to build their own teams. And here I was, with a dope team that wanted nothing from the label but the opportunity to invest in me, and work on my promo and branding together with the label, and CC said no.
They said ‘Either all us or nothing’. So what choice did I have? Sit and wait some more, or work with people who actually believe in me? I didn’t want to leave the label, but they didn’t really leave me a choice… So as much as it pained me to leave my fam behind, we started the release process in January…
Right after the meeting with M.I, my new team and I travelled abroad for four weeks to shoot two music videos. The change of environment was good for me as I was really down at the time, I felt abandoned because after all the hard work I had put into the various CC projects and the Chairman album, the label was ready to just give up on me like that…
Then things started picking up and I did more work with my new team in one month than with Choc City in an entire year, and I’m grateful. They get me and my music. They wanna make me succeed the way I am, not change my sound. They see the big picture, and way beyond Nigeria.
Not everyone is happy about my departure from CC though, and even for me, it wasn’t easy to make that decision… In ‘Everything’ M.I. really went deep, calling me disloyal for leaving the family and so on. People in the label office stopped talking to me. It became difficult for me to work with Reinhard, my producer that I introduced to M.I. at the time we produced Chairman. They talked to radio OAPs and other media people and told them their side of the story, making me look bad and as if I don’t care about anyone.
And then it took almost five months to release me from the label, so I was stuck. Choc City was delaying me and crushed my vibe… My new team said I shouldn’t be on social media until things are settled with Choc City, so that they don’t change their mind about releasing me or delay us some more when they see how well things are going for me. That’s why I went quiet at some point. I didn’t even know what to say or post anyway, I was just really, really sad…
Part Five
Being signed to Choc City was a big opportunity in my life that I will forever be grateful for. I’ve learned a lot, the good and the bad. But to keep following my dream, I needed to let go, even if it hurts and it still does…
But I’ve got my own label now, Up Next, a dope team, and I’ve got you guys, and that’s all I need. But I can’t lie, it’s gonna be tough. I already know that he and his people have been talking to the media, and I don’t know how that will affect what the blogs will write, and how much radio and TV airplay I will get for my music… Maybe they will shut me out, he has people everywhere, so its possible for him to do things his way… Some of the social media influencers even told me they don’t want to promote my new projects, for fear of upsetting M.I or Choc City…
It’s scary and I don’t know what will happen but I’m ready for the challenge, and as long as you guys have my back and help me post, RT, Regram and spread the word about the#UpNextMovement and my new music to your people, we don’t even need all the fake hype!
Much more happened than what I’ve told you, a lot of personal things that really disappointed and hurt me deeply, coming from a person I admire and respect so much. I won’t speak about details because I don’t want this to be about any of those personal things. That’s between him and me. #DontAskMeWhatHappened.
But I will never forget how I was put down again and again, how my confidence in my sound was broken, and how it was impossible for me to put out my music. I even stopped believing in myself at some point… Your messages all this while really helped me a lot and gave me new motivation. I felt your love and I’m grateful for that.
What I’m going to drop this week is daring, but it’s my way of overcoming my fear, stand up for the Art I believe in and move on. I hope I can count on you to have my back and get others to join the #UpNextMovement. The Movement is about the art of good music, and about giving other artists that make ‘different’ sound the courage and strength to BE different, instead of getting frustrated by the industry.
I’m sure many people will say I’m ungrateful and I want to cause drama but what I really want to do is to leave the old structures behind that suppressed my art and my sound, follow my dream and #SetArtFree! That’s my mission with the #UpNextMovement.
We need to allow Art to exist in Nigeria and I’m not shutting up no more. And if that upsets some people, so be it.
Bless you all and thanks for being with me.
Milli
Business
Aare Adetola Emmanuelking Welcomes President Tinubu to Gateway International Airport Commissioning in Iperu-Remo
Aare Adetola Emmanuelking Welcomes President Tinubu to Gateway International Airport Commissioning in Iperu-Remo
In a momentous occasion that underscores the rapid infrastructural advancement of Ogun State, renowned real estate mogul and philanthropist, Aare Adetola Emmanuelking, warmly received the President of the Federal Republic of Nigeria, Bola Ahmed Tinubu, at the official commissioning of the Gateway International Airport, located in Iperu-Remo.
The landmark event, held under the visionary leadership of the Ogun State Governor, Dapo Abiodun, marks a significant stride in the state’s economic transformation agenda, positioning Ogun as a key hub for aviation, commerce, and investment in Nigeria.
Aare Emmanuelking, who is also the Chairman/CEO of Adron Homes and Properties, commended the Ogun State Government for its foresight and commitment to infrastructural excellence. He described the airport project as a “game-changer” that will not only boost connectivity but also stimulate real estate growth, tourism, and industrial expansion across the region.
Speaking during the commissioning, President Tinubu lauded Governor Abiodun’s administration for delivering a world-class facility that aligns with the Federal Government’s Renewed Hope Agenda, emphasizing the importance of strategic infrastructure in driving national development.
The Gateway International Airport is expected to serve as a critical gateway for investors and travelers, further enhancing Ogun State’s reputation as one of Nigeria’s most business-friendly environments.
The presence of top dignitaries, industry leaders, and stakeholders at the event underscores the project’s significance and its anticipated impact on the state’s socio-economic landscape and beyond.
Business
N4.65 Trillion in the Vault, but is the Real Economy Locked Out?
N4.65 Trillion in the Vault, but is the Real Economy Locked Out?
BY BLAISE UDUNZE
Following the successful conclusion of the banking sector recapitalisation programme initiated in March 2024 by the Central Bank of Nigeria, the industry has raised N4.65 trillion. No doubt, this marks a significant milestone for the nation’s financial system as the exercise attracted both domestic and foreign investors, strengthened capital buffers, and reinforced regulatory confidence in the banking sector. By all prudential measures, once again, it will be said without doubt that it is a success story.
Looking at this feat closely and when weighed more critically, a more consequential question emerges, one that will ultimately determine whether this achievement becomes a genuine turning point or merely another financial milestone. Will a stronger banking sector finally translate into a more productive Nigerian economy, or will it be locked out?
This question sits at the heart of Nigeria’s long-standing economic contradiction, seeing a relatively sophisticated financial system coexisting with weak industrial output, low productivity, and persistent dependence on imports truly reflects an ironic situation. The fact remains that recapitalisation, by design, is meant to strengthen banks, enhancing their ability to absorb shocks, manage risks and support economic growth. According to the apex bank, the programme has improved capital adequacy ratios, enhanced asset quality, and reinforced financial stability. Under the leadership of Olayemi Cardoso, there has also been a shift toward stricter risk-based supervision and a phased exit from regulatory forbearance.
These are necessary reforms. A stable banking system is a prerequisite for economic development. However, the truth be told, stability alone is not sufficient because the real test of recapitalisation lies not in stronger balance sheets, but in how effectively banks channel capital into productive economic activity, sectors that create jobs, expand output and drive exports. Without this transition, recapitalisation risks becoming an exercise in financial strengthening without economic transformation.
Encouragingly, early signals from industry experts suggest that the next phase of banking reform may begin to address this long-standing gap. Analysts and practitioners are increasingly pointing to small and medium-sized enterprises (SMEs) as a key destination for recapitalisation inflows, which is a fact beyond doubt. Given that SMEs account for over 70 percent of registered businesses in Nigeria, the logic is compelling. With great expectation, as has been practicalised and established in other economies, a shift in credit allocation toward this segment could unlock job creation, stimulate domestic production, and deepen economic resilience. Yet, this expectation must be balanced with reality. Historically, and of huge concern, SMEs have received only a marginal share of total bank credit, often due to perceived risk, lack of collateral, and weak credit infrastructure.
Indeed, Nigeria’s broader financial intermediation challenge remains stark. Even as the giant of Africa, private sector credit stands at roughly 17 percent of GDP, and this is far below the sub-Saharan African average, while SMEs receive barely 1 percent of total bank lending despite contributing about half of GDP and the vast majority of employment. These figures underscore the structural disconnect between the banking system and the real economy. Recapitalisation, therefore, must be judged not only by the strength of banks but by whether it meaningfully improves this imbalance.
Nigeria’s economic challenge is not merely one of capital scarcity; it is fundamentally a problem of low productivity. Manufacturing continues to operate far below capacity, agriculture remains largely subsistence-driven, and industrial output contributes only modestly to GDP. Despite decades of banking sector expansion, credit to the real sector has remained limited relative to the size of the economy. Instead, banks have often gravitated toward safer and more profitable avenues such as government securities, treasury instruments, and short-term trading opportunities.
This is not irrational. It reflects a rational response to risk, policy signals, and market realities. However, it has created a structural imbalance in which capital circulates within the financial system without sufficiently reaching the productive economy. The result is a pattern where financial sector growth outpaces real sector development, a phenomenon widely described as financialisation without productivity gains.
At the center of this challenge is the issue of credit allocation. A recapitalised banking sector, strengthened by new capital and improved buffers, should theoretically expand lending. But this is, contrarily, because the more important question is where that lending will go. Will Nigerian banks extend long-term credit to manufacturers, finance agro-processing and value chains, and support scalable SMEs or will they continue to concentrate on low-risk government debt, prioritise foreign exchange-related gains, and maintain conservative lending practices in the face of macroeconomic uncertainty? Some of these structural questions call for immediate answers from policymakers.
Some industry voices are optimistic that the expanded capital base will translate into a broader loan book, increased investment in higher-risk sectors, and improved product offerings for depositors; this is not in doubt. There are also expectations that banks will scale operations across the continent, leveraging stronger balance sheets to expand their regional footprint. Yes, they are expected, but one thing that must be made known is that optimism alone does not guarantee transformation. The fact is that without deliberate incentives and structural reforms, capital may continue to flow toward low-risk assets rather than high-impact sectors.
Beyond lending, experts are also calling for a shift in how banking success is measured. The next phase of reform, according to the experts in their arguments, must move from capital thresholds to customer outcomes. This includes stronger consumer protection frameworks, real-time complaint management systems and more transparent regulatory oversight. A more technologically driven supervisory model, one that allows regulators to monitor customer experiences and detect systemic risks early, could play a critical role in strengthening trust and accountability within the system.
This dimension is often overlooked but deeply significant. A banking system that is well-capitalised but unresponsive to customer needs risks undermining public confidence. True financial development is not only about capital strength but also about accessibility, fairness, and service quality. Nigerians must feel the impact of recapitalisation not just in improved financial ratios, but in better banking experiences, more inclusive services, and greater economic opportunity.
The recapitalisation exercise has also attracted notable foreign participation, signaling confidence in Nigeria’s banking sector. However, confidence in banks does not necessarily translate into confidence in the broader economy. The truth is that foreign investors are typically drawn to strong regulatory frameworks, attractive returns, and market liquidity, though the facts are that these factors make Nigerian banks appealing financial assets; it must be made explicitly clear that they do not automatically reflect confidence in the country’s industrial base or productivity potential.
This distinction is critical. An economy can attract capital into its financial sector while still struggling to attract investment into productive sectors. When this happens, growth becomes financially driven rather than fundamentally anchored. The risk therefore, is that recapitalisation could deepen Nigeria’s financial markets but what benefits or gains when banks become stronger or liquid without addressing the structural weaknesses of the real economy.
It is clear and explicit that the current policy direction of the CBN reflects a strong emphasis on stability, with tightened supervision, improved transparency, and stricter prudential standards. These measures are necessary, particularly in a volatile global environment. However, there is an emerging concern that stability may be taking precedence over growth stimulation, which should also be a focal point for every economy, of which Nigeria should not be left out of the equation. Central banks in emerging markets often face a delicate balancing act and this is putting too much focus on stability, which can constrain credit expansion, while too much emphasis on growth can undermine financial discipline, as this calls for a balance.
In Nigeria’s case, the question is whether sufficient mechanisms exist to align banking sector incentives with national productivity goals. Are there enough incentives to encourage long-term lending, sector-specific financing, and innovation in credit delivery? Or does the current framework inadvertently reward risk aversion and short-term profitability?
Over the past two decades, it has been a herculean experience as Nigeria’s economic trajectory suggests a growing disconnect between the financial sector and the real economy. Banks have become larger, more sophisticated and more profitable, yet the irony is that the broader economy continues to struggle with high unemployment, low industrial output, and limited export diversification. This divergence reflects the structural risk of financialization, a condition in which financial activities expand without a corresponding increase in real economic productivity.
If not carefully managed, recapitalisation could reinforce this trend. With more capital at their disposal, banks may simply scale existing business models, expanding financial activities that generate returns without contributing meaningfully to production. The point is that this is not solely a failure of the banking sector; it is a systemic issue shaped by policy design, regulatory priorities, and market incentives, which needs the urgent attention of policymakers.
Meanwhile, for recapitalisation to achieve its intended purpose and truly work, it must be accompanied by a deliberate shift or intentional policy change from capital accumulation to productivity enhancement and the economy to produce more goods and services efficiently. This begins with creating stronger incentives for real sector lending with differentiated capital requirements based on sector exposure, credit guarantees for high-impact industries, and interest rate support for priority sectors can encourage banks to channel funds into productive areas and this must be driven and implemented by the apex bank to harness the gains of recapitalisation.
This transformative process is not only saddled with the CBN, but the Development finance institutions also have a critical role to play in de-risking long-term investments, making it easier for commercial banks to participate in financing projects that drive economic growth. At the same time, one of the missing pieces that must be taken into cognizance is that regulatory frameworks should discourage excessive concentration in risk-free assets. No doubt, banks thrive in profitability, as government securities remain important; overreliance on them can crowd out private sector credit and limit economic expansion.
Innovation in financial products is equally essential. Traditional lending models often fail to meet the needs of SMEs and emerging industries as this has continued to hinder growth. Banks must explore new approaches, including digital lending platforms, supply chain financing, and blended finance solutions that can unlock new growth opportunities, while they extend their tentacles by saturating the retail space just like fintech.
Accountability must also be embedded in the system. One fact is that if recapitalisation is justified as a tool for economic growth, then its outcomes and gains must be measurable and not obscure. Increased credit to productive sectors, higher industrial output and job creation should serve as key indicators of success. Without such metrics, the exercise risks being judged solely by financial indicators rather than its real economic impact.
The completion of the recapitalisation programme represents more than a regulatory achievement; it is a defining moment for Nigeria’s economic future. The country now has a banking sector that is better capitalised, more resilient, and more attractive to investors. These are important gains, but they are not ends in themselves.
The ultimate objective is to build an economy that is productive, diversified, and inclusive. Achieving this requires more than strong banks; it requires banks that actively power economic transformation.
The N4.65 trillion recapitalisation is a significant step forward. It strengthens the foundation of Nigeria’s financial system and enhances its capacity to support growth. However, capacity alone is not enough and truly not enough if the gains of recapitalisation are to be harnessed to the latter. What matters now is how that capacity is deployed.
Some of the critical questions for urgent attention are as follows: Will banks rise to the challenge of financing Nigeria’s productive sectors, particularly SMEs that form the backbone of the economy? Will policymakers create the right incentives to ensure credit flows where it is most needed? Will the financial system evolve from a focus on profitability to a broader commitment to the economic purpose of fostering a more productive Nigerian economy and the $1 trillion target?
The above questions are relevant because they will determine whether recapitalisation becomes a catalyst for change or a missed opportunity if not taken into cognizance. A well-capitalised banking sector is not the destination; it is the starting point. The real journey lies in building an economy where capital works, productivity rises, and growth becomes both sustainable and inclusive.
Blaise, a journalist and PR professional, writes from Lagos and can be reached via: [email protected]
Business
Precision and Heritage: How Fifi Stitches Is Rewriting African Fashion Narratives
Precision and Heritage: How Fifi Stitches Is Rewriting African Fashion Narratives
A Nigerian-born designer is gradually carving out a cross-continental footprint in contemporary fashion, blending African textile heritage with British technical discipline.
Esther Fiyinfoluwa Adeosun, Founder and Creative Director of Fifi Stitches, is gaining recognition for structured womenswear and bridal couture that reinterprets traditional fabrics through architectural tailoring and precision construction.
Born in Ibadan, Oyo State, Adeosun’s fashion journey began at home, seated beside her mother’s sewing machine. What started as childhood curiosity, sometimes jamming the machine just to understand its mechanics—evolved into a disciplined design practice now operating between Nigeria and the United Kingdom.
During an interview with journalists the fifi Stitches once mentioned “I was fascinated by how flat fabric could transform into something structured and meaningful”.
In her Story , early designs made for her family, though imperfectly finished, were worn with pride—an encouragement that laid the foundation for her professional confidence.
Today, Fifi Stitches is recognised for sculpted bodices, controlled tailoring, corsetry construction, and the contemporary reinterpretation of Ankara, Aso Oke, and Adire textiles.
The brand challenges the long-held perception that African fabrics belong solely in ceremonial contexts, instead positioning them within global luxury and modern design spaces.
Adeosun’s training reflects this dual perspective. She studied Fashion Design and Entrepreneurship at the Institute for Entrepreneurship and Development Studies, Obafemi Awolowo University, and earned a Diploma in Fashion Design through Alison Online.
In the UK, she undertook industry-focused technical training with Fashion-Enter Ltd and gained fashion business exposure through Fashion Capital UK.
Her technical expertise spans pattern drafting, draping, garment technology, structured tailoring, corsetry, and bespoke fittings—skills she describes as central to credibility in fashion. “Precision builds trust,” she says. “A designer must understand construction as deeply as creativity.”
Fifi Stitches has showcased collections at the Suffolk Fashion Show, Liverpool Fashion Show – FB Fashion Ball, Red Carpet Fashion Event in London, and through editorial features in London Runway Magazine.
The brand has also received coverage in The Guardian Nigeria and Vanguard Allure, expanding its visibility across markets.
Beyond couture, Adeosun integrates community impact into her practice.
She has facilitated garment construction workshops, draping sessions, and introductory training programmes for women and emerging creatives, promoting fashion as both artistic expression and vocational empowerment.
Fifi Stcithes Boss operates between Nigeria and the UK, in order to continue to shape her brand identity.
According to her “Nigeria provides cultural richness and expressive textile traditions, while the UK offers structured production systems, sustainability conversations, and institutional frameworks”.
Looking ahead, Adeosun said she plan to establish a fully structured fashion house spanning Africa and the UK, develop scalable production partnerships, launch capsule collections, and expand independent editorial visibility.
Her broader ambition is clear: to position African textile craftsmanship within global contemporary design conversations—through structure, discipline, and technical excellence.
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