Popular blogger Tosin Silverdam has sparked intense debate by revealing evidence suggesting that musician Flavour N’abania, who recently criticized fellow artist KCee for allegedly copying his music, has himself extensively sampled from various artists throughout his career. This revelation has added a complex layer to the ongoing feud between the two prominent Nigerian musicians.
The controversy began when Flavour N’abania, whose real name is Chinedu Okoli, made pointed remarks suggesting that Kingsley Okonkwo, better known as KCee, was imitating his musical style. However, Silverdam’s recent Instagram exposé has turned the tables, presenting evidence that many of Flavour’s hit tracks were inspired by or sampled from earlier works by other artists.
In a detailed video presentation, Silverdam meticulously highlighted several instances where Flavour’s music appeared to draw heavily from existing compositions. Among the original tracks identified were “Sawale” by Cardinal Rex Jim Lawson, “Naomi” by Okoro Bobo, “My Sweety” by Bunny Mack, “She’s My Choice” by Sweet Breeze, “She’s Gone” by Bob Marley, and the classic “Osondi Owendi” by Osita Osadebe.
The blogger’s revelation has ignited a fierce debate within the Nigerian music community about the nature of musical inspiration, sampling, and originality. While addressing the controversy, Silverdam acknowledged that sampling itself isn’t inherently problematic, but questioned the ethics of criticizing others for similar practices. There’s nothing wrong with sampling songs, but for the fact that he was even saying someone is copying him whereas you yourself, you dey copy. Most of his songs, most of his discography, they’re all copied,” Silverdam stated in his viral post
The music industry has responded with mixed reactions to these revelations. Some fans have defended Flavour, arguing that his interpretations often surpassed the original versions in popularity and appeal. Supporters point out that his ability to modernize classic sounds has contributed significantly to preserving and promoting African musical heritage. One fan commented, “Flavour puts flavours to the songs,” highlighting the artist’s talent for reimagining existing work
Others in the industry have taken a more critical stance, with some suggesting that the extent of sampling in Flavour’s work goes beyond mere inspiration. The discussion has evolved into a broader conversation about artistic integrity and the fine line between homage and imitation in contemporary African music.
Notably, some observers have pointed out that Flavour has previously acknowledged his musical influences, particularly in the case of Osita Osadebe’s work. As one commentator noted, “He even wrote RIP to Osadebe and that is proof he gives accolades to the Originator. And even in his sampling, there is an evident advancement in sound.”
The controversy has also shed light on the complex nature of musical ownership and creativity in the digital age. Several industry experts have weighed in, suggesting that the practice of sampling and musical borrowing has been a fundamental aspect of artistic evolution, particularly in African music, where oral and musical traditions are passed down through generations.
KCee’s supporters have used this opportunity to highlight their artist’s achievements, pointing out his track record of producing successful artists and winning prestigious awards. One fan emphasized, “KCee has produced two super stars, topped charts, and has won song of the year award, artist of the year. To me, KCee is way bigger in terms of verifiable achievements as an artist.”
The situation has prompted broader discussions about the nature of originality in contemporary African music and the importance of acknowledging musical influences. Some industry observers suggest that this controversy could lead to more transparent discussions about sampling and creative inspiration in Nigerian music.
As the debate continues to unfold on social media and within music circles, questions about authorship, originality, and artistic integrity remain at the forefront. The controversy serves as a reminder of the complex relationship between tradition and innovation in modern music production.
The ongoing discussion has also highlighted the need for clearer guidelines and understanding regarding musical sampling and attribution in the Nigerian music industry. As one social media user aptly summarized, “The world big!! E go contain everybody Las las,” suggesting that there’s room for both original creation and respectful sampling in the industry.
As this story continues to develop, it serves as a catalyst for important conversations about creativity, attribution, and the evolution of musical styles in contemporary African music. The controversy between Flavour and KCee, now complicated by these revelations, may ultimately contribute to a more nuanced understanding of musical creativity and ownership in the digital age.
