Music heavyweight Skepta has responded with characteristic humor to Nigerian singer Portable’s recent industry criticisms, suggesting he’s “waiting” to join the growing list of artists targeted by the controversial performer’s public callouts. The British-Nigerian rapper’s lighthearted tweet comes amid Portable’s latest series of criticisms aimed at major industry figures.
Skepta’s reaction stands out for its timing and tone, particularly given the duo’s recent successful collaboration on “Tony Montana.” The British star’s response, “Why am I trending? Lol. I’ve just seen Portable dragging somebody again. Apparently, I’m next. We dey wait lol,” demonstrates his understanding of the Nigerian artist’s provocative public persona.
The exchange gains significance considering Skepta’s previous endorsement of Portable’s authenticity in the music industry. Earlier this year, the British rapper praised Portable’s unique approach to maintaining relevance, acknowledging his unconventional tactics while distinguishing them from his own methods. Skepta’s appreciation for Portable’s genuine character marked a notable contrast to what he described as prevalent industry inauthenticity.
This mutual respect was further cemented when Portable publicly acknowledged receiving substantial royalty payments from their “Tony Montana” collaboration, praising Skepta for fair business practices. This transparent financial arrangement stands out in an industry often criticized for inequitable payment structures, particularly in cross-continental collaborations.
The current situation reflects broader dynamics within the global music industry, where different approaches to publicity and artist relations collide. Portable’s recent criticism of industry figures, including his comments about Olamide’s support of Asake following the Grammy Awards, highlights the complex relationships between established artists and emerging talents in Nigerian music.
Skepta’s position as both observer and potential target of Portable’s commentary offers a unique perspective on the evolution of African music’s global presence. His ability to appreciate Portable’s authenticity while maintaining professional distance from controversy demonstrates the delicate balance international collaborators must strike.
The relationship between these artists represents a fascinating case study in cross-cultural musical collaboration. Skepta, born Joseph Olaitan Adenuga Junior, brings his British music industry experience while maintaining strong connections to his Nigerian heritage. This cultural bridge has enabled him to navigate relationships with artists like Portable, whose approach to industry relations differs markedly from Western norms.
Their interaction highlights changing dynamics in global music collaboration, where traditional power structures are increasingly challenged by direct artist-to-artist relationships and social media transparency. Skepta’s embrace of Portable’s authentic expression, despite its controversial nature, suggests a shifting paradigm in how established artists engage with emerging talents.
As the industry watches this unfolding dynamic, Skepta’s playful anticipation of potentially becoming Portable’s next target underscores a broader truth about modern music industry relationships: authenticity and mutual respect can transcend traditional professional boundaries, even when artists operate with drastically different public relations strategies.
