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Published on 2024-03-03 17:26:25
Controversial singer Habeeb Okikiola, popularly known as Portable, is making headlines once again with his recent declaration that any of his colleagues who want to feature him in their song will have to lick his foot and buy him a car. This bold statement was made by the Zazu crooner while celebrating his successful collaboration with British-Nigerian rapper, Skepta.
Despite facing criticism from some quarters, Portable expressed gratitude towards Skepta for supporting him and helping him reach the top of the charts. During a recent Instagram live session with fans, Portable highlighted the challenges he has faced in the industry and how Skepta went out of his way to assist him. He emphasized that anyone seeking to collaborate with him will have to meet his unique demands.
Portable’s collaboration with Skepta on the track ‘Tony Montana’ has propelled him to new heights, with the song becoming his first number one hit on Apple Music Nigeria since ‘Zazu’. This achievement not only showcases Portable’s talent but also reinforces his growing influence in the music industry.
The Nigerian music scene is known for its diverse and vibrant artists who constantly push boundaries and challenge norms. Portable’s unconventional approach to collaborations may raise eyebrows, but it also serves as a reminder of the non-conformist spirit that drives many artists to success.
While some may view Portable’s demands as excessive or unreasonable, it is important to remember that artists often use their platform to assert their autonomy and assert their worth. In an industry where exploitation and unfair treatment are all too common, artists like Portable are taking a stand and redefining the rules of engagement.
As Portable continues to make waves with his music and collaborations, it is clear that he is unafraid to carve out his own path and demand respect from his peers. His uncompromising attitude may divide opinion, but it also sets him apart as an artist with a strong sense of self-worth and determination.
In a dynamic and competitive industry like the music business, artists must be willing to assert themselves and stand up for their rights. Portable’s bold stance on collaborations may be controversial, but it also highlights the importance of self-respect and valuation in an environment where exploitation and manipulation are all too prevalent.
As Portable’s star continues to rise, it will be interesting to see how his approach to collaborations influences the wider music landscape and whether other artists will follow suit in demanding their worth and asserting their autonomy. Love him or hate him, Portable is undeniably a force to be reckoned with in the Nigerian music scene.
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