Entertainment
“I’m unaware of Dagrin’s music royalties” – Trod Reacts on Twitter
Up-and-coming Nigerian artist Trod, the brother of late rapper Dagrin, took to Twitter to refute claims that he has been siphoning royalties from his brother’s music.
Dagrin tragically passed away in an auto accident over 13 years ago, on April 22, 2010.

Trod’s response on social media came after accusations arose suggesting that he was secretly benefiting from the proceeds of Dagrin’s songs while their family struggled.
Trod’s response on social media came after accusations arose suggesting that he was secretly benefiting from the proceeds of Dagrin’s songs while their family struggled.
The allegations gained further traction following a recent video in which the mother of Trod and Dagrin appealed to Nigerians for assistance.
In response to the mounting speculation, Trod explicitly stated on Twitter that he has no knowledge of any royalties associated with Dagrin’s music.
He openly challenged anyone who had been receiving royalties since 2010 to come forward and make themselves known.
He wrote;
“I dunno shiit about Grins Royalties… The person who has been getting paid for 13 years should come out. DMCE whatever?”
The claims of Trod benefiting from his late brother’s royalties have sparked controversy and raised concerns about the fair distribution of proceeds generated by Dagrin’s music.
The late rapper, known for his contributions to the Nigerian hip-hop scene, left behind a significant body of work that continues to resonate with fans.
It is worth noting that Trod, an up-and-coming singer himself, has denied any involvement in the financial aspects of his brother’s music.
His assertion that he is unaware of the royalties echoes the frustration expressed by fans and concerned individuals who believe that the funds should be rightfully allocated to support Dagrin’s family.
As of now, no concrete evidence has been presented to substantiate the claims of Trod receiving royalties.
Entertainment
‘God Took Him’ — Singer Niniola Announces Death of Husband Michael Ndika
Nigerian Afro-house star Niniola Apata has announced the heartbreaking death of her husband, Michael Ndika, after 13 years of marriage.
The Grammy-nominated artist shared the sad news in a series of emotional Instagram Stories posted in the early hours of Wednesday, May 20, 2026.
“God took him,” Niniola wrote in one post. “My husband died,” she added in another, while expressing deep grief in a third: “God took him. 13 years. 13 f***ing years.”
Michael Ndika, also known as Big Mike or X.O, served as Niniola’s manager and was the Chief Executive Officer of NaijaReview, a multimedia platform promoting Afro-house and contemporary African music. The couple had kept their marriage largely private, surprising many fans who were unaware of the union.
No details have been released about the cause of Ndika’s death. Tributes and messages of condolence have poured in from fans, fellow artists, and the music community, including her sister, singer Teni.
Niniola, celebrated for hits like “Maradona” and her contributions to the Afro-house genre, is now receiving an outpouring of support as she mourns the loss of her longtime partner.
Entertainment
Wizkid Becomes First African Artist to Surpass 11 Billion Spotify Streams
Nigerian Afrobeats superstar Wizkid (Ayodeji Balogun) has etched his name deeper into music history, becoming the first African artist to surpass 11 billion total streams on Spotify across all credits.
The milestone was announced on Tuesday by music data platform Charts Africa, which noted that Wizkid has now claimed every major Spotify streaming benchmark for African artists—from 1 billion to 11 billion streams.
This latest achievement underscores Wizkid’s unparalleled dominance as the most-streamed African act on the platform. His catalog, boosted by global hits like “Essence” with Tems and his feature on Drake’s “One Dance,” continues to drive massive numbers. He also leads other top African acts, with Burna Boy at around 9.8 billion and Davido trailing further behind.
The timing coincides with the recent release of his collaboration “State of Mind” with DJ Tunez, which quickly racked up hundreds of thousands of streams. Industry observers project that Wizkid’s consistent daily streaming velocity will keep pushing his totals higher.
Fans and industry figures have flooded social media with congratulations, hailing the feat as a proud moment for Afrobeats and Nigerian music on the global stage. Wizkid’s previous breakthroughs, including becoming the first African artist to hit 10 billion streams earlier in 2026, had already positioned him as a continental trailblazer.
This 11 billion milestone further solidifies his status among the world’s streaming heavyweights and highlights the growing international commercial power of Afrobeats.
Entertainment
NFVCB Approves 304 Nollywood’s New Films
English-language productions dominated the industry with 201 films classified within the period under review. Igbo-language productions accounted for 44 films, while Yoruba recorded 42. Hindi films stood at nine, Hausa productions accounted for five, while Bini-language films recorded three classifications.
The National Film and Video Censors Board (NFVCB) declared that it approved and classified 304 films between January and April 2026.
In a statement, Director of Film Censorship and Classification at the board, Deborah Malgwi, said that the figure represented an increase from the 267 films classified during the same period in 2025.
Classification data released by the board shows that January 2026 recorded the highest number of approvals with 102 films, followed by 83 in February, 77 in March and 42 in April.
In comparison, the board classified 25 films in January 2025, 58 in February, 114 in March and 70 in April of the same year.
The statistics also showed that English-language productions dominated the industry with 201 films classified within the period under review. Igbo-language productions accounted for 44 films, while Yoruba recorded 42. Hindi films stood at nine, Hausa productions accounted for five, while Bini-language films recorded three classifications.
Further analysis indicated that most productions fell within the “15” and “18” age categories, reflecting prevailing themes in contemporary film productions.
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