Rédaction Africa Links 24 with Sunny Green Itodo
Published on 2024-02-22 18:14:35
In a recent podcast interview, Eedris Abdulkareem claimed that American rapper 50 Cent and his crew assaulted Nigerian artists, including P-Square, at a concert held at the Tafawa Balewa Square in Lagos in 2004. However, Paul Okoye, also known as Rudeboy of the P-Square, has refuted these claims, stating that P-Square never attended the said show.
During a recent Instagram live session with fans, Rudeboy addressed Abdulkareem’s claims, asserting that P-Square did not perform at the concert due to the inability of the organisers to reach an agreement with them on the booking fees. He emphasized that P-Square was never billed for the concert and therefore did not attend. Rudeboy went on to accuse Abdulkareem of accepting a low payment from the show organisers after other artists had already agreed on more lucrative performance fees, betraying the Nigerian artists.
Rudeboy expressed his disappointment in Abdulkareem’s actions, stating, “Eedris Abdulkareem accepted the peanut [low payment] and was expecting VIP treatment. 50 Cent crew didn’t beat you well. Respect yourself.” He also mentioned that other Nigerian artists, including Daddy Showkey and Tony Tetuila, supported Rudeboy’s assertion, labeling Abdulkareem a liar.
Furthermore, Rudeboy emphasized that the reason for P-Square’s absence from the concert was the inadequate payment offered to them, which they refused. He reiterated that P-Square was never billed for the concert and was consequently not present at the event. This contradicts Abdulkareem’s claim that P-Square was assaulted by 50 Cent’s crew.
The dispute between Abdulkareem and Rudeboy sheds light on the challenges faced by Nigerian artists, including disagreements over performance fees and the consequences of accepting inadequate payment. Rudeboy’s public refutation of Abdulkareem’s claims highlights the importance of addressing misinformation and setting the record straight, especially in the entertainment industry where narratives can easily be distorted.
The conflicting accounts of the 2004 concert serve as a reminder of the complexities and conflicts that can arise within the music industry. It also underscores the significance of transparent and fair dealings between artists, event organisers, and industry stakeholders.
Ultimately, Rudeboy’s statement not only clarifies the circumstances surrounding P-Square’s absence from the 2004 concert but also challenges the credibility of Abdulkareem’s claims. By speaking out and providing his perspective, Rudeboy seeks to uphold the integrity of P-Square and Nigerian artists in the face of misleading narratives.
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