Rising star Darkoo has ignited a fresh controversy in the music industry by publicly accusing Peter Okoye, one half of the legendary P-Square duo, of deliberately sabotaging her latest single “Focus On Me” on YouTube. The British-Nigerian singer alleges that Okoye orchestrated the removal of her music video for six days, despite having secured all necessary clearances for the song’s sample.
The controversy surrounding the track, which was released on January 2, 2024, has exposed deeper tensions within the industry and raised questions about power dynamics between established and emerging artists. According to Darkoo’s detailed account shared on her X (formerly Twitter) platform, the situation stems from a complex web of professional relationships and unfulfilled expectations.
At the heart of the dispute lies an arrangement where Okoye’s team already receives a 50% share of the song’s royalties. However, Darkoo claims this substantial stake wasn’t enough to satisfy the veteran artist. She reveals that Peter Okoye had taken the initiative to create his own verse for the track and expressed a strong desire to be featured, allegedly instructing her to avoid communication with his brothers, Paul and Jude Okoye.
The situation took a dramatic turn when Darkoo claims Peter’s attitude shifted dramatically following the song’s release. Despite her willingness to include him in a future remix version, she alleges that this compromise failed to appease him. “He completely switched on me as soon as the song dropped,” Darkoo stated, suggesting that the removal of her video was a retaliatory measure after she didn’t immediately acquiesce to his demands for inclusion on the original track.
This incident has sparked discussions about the challenges faced by emerging artists in navigating relationships with industry veterans. Darkoo’s decision to make this dispute public highlights the frustration of dealing with what she perceives as unfair pressure, despite having followed proper legal channels for sample clearance and royalty sharing.
The controversy adds another layer to Peter Okoye’s recent history of industry disputes, following well-documented disagreements with his twin brother Paul and older brother Jude Okoye. These recurring conflicts paint a picture of ongoing tensions within one of Nigeria’s most influential musical families and their broader industry relationships.
The music industry has been watching this situation closely, as it raises important questions about creative control, artist collaboration, and the balance of power in musical partnerships. The case is particularly noteworthy given that the song’s sample clearance and royalty split were reportedly already formalized, making the additional demands for feature inclusion a complex issue of artistic and business ethics.
As of the report’s publication, Peter Okoye has maintained silence regarding these allegations, leaving industry observers and fans speculating about his perspective on the situation. The absence of his response has only intensified discussions about the incident across social media platforms, where supporters of both artists have engaged in heated debates about the ethics of the situation.
This controversy serves as a reminder of the intricate relationships and potential conflicts that can arise in the music industry, particularly when dealing with sample clearances and feature requests. It also highlights the increasing tendency of artists to use social media platforms to address industry disputes directly with their audience, bypassing traditional channels of conflict resolution.
The incident has broader implications for the music industry, particularly regarding how established and emerging artists interact and negotiate creative collaborations. It raises questions about the balance between artistic integrity, business interests, and professional relationships in an increasingly complex musical landscape.
As the situation continues to unfold, the industry and fans alike await Peter Okoye’s response to these serious allegations, while Darkoo’s experience serves as a talking point for broader discussions about power dynamics and professional ethics in the music business.
