The Nation Newspaper

Category: Entertainment

  • Laolu Gbenjo, Chioma Jesus, Mercy Chinwo, others to light up Port Harcourt

    Laolu Gbenjo, Chioma Jesus, Mercy Chinwo, others to light up Port Harcourt

    The garden city of Port Harcourt, Rivers State is already vibrating and anticipating in what is being described as one of the largest outreach crusades ever held in the state.

    The highly anticipated humanitarian and evangelistic movement founded by Pastor Matthew Ashimolowo, Christ Compassion to the Rural World (CCRW) will be holding its crusade in the state with leading gospellers as headliners.

    Speaking at a press briefing, Pastor Ashimolowo said the vision for CCRW grew out of years of ministering in remote African communities, especially in Ghana, where he visited repeatedly for eight years. After months of prayer, he said Port Harcourt was chosen as the next location under the theme: “Port Harcourt, This Is Selfless Love.”

    “CCRW began in Ikorodu in 2023, expanded to Ibadan in 2024, and now lands at the Adokiye Amiesimaka Stadium from November 24–29, 2025. And to bless the souls of PH with soul lifting performances are Laolu Gbenjo Chioma Jesus, Mercy Chinwo, Lillian Nneji, Sensational Bamidele, Testimony Jaga among others,” Ashimolowo revealed.

    Ashimolowo revealed that the Port Harcourt edition is the most expensive yet almost four times the cost of the first outreach and twice the Ibadan budget. The medical component alone will run for three weeks across major hospitals, including the Rivers State University Teaching Hospital, the University of Port Harcourt Teaching Hospital, and several PHCs.

    According to him, 1,130 surgical cases including thyroid, fibroid and cataract cases have already been screened, with 70,000 people expected to benefit from the medical services.

    He praised the Rivers State Government for what he called “unprecedented cooperation,” especially in hospital deployment and support staffing.

    On relief support, he listed the staggering quantities to be distributed: 150,000 bags of rice, 150,000 bags of beans,150,000 packs of garri, 100,000 noodles, 20,000 packs of salt, sugar and oil, 20,000 bags of soap, 170,000 clothing items, including 10,000 Ankara wrappers, 25,000 buckets and 1,000 mattresses for the elderly.

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    Distribution will be strictly organised with coupons collected on Monday, November 24. The stadium will also be divided into sections based on gender and age groups to maintain order.

    Over 9,000 volunteers have been mobilized, and 150 buses are set to convey people from rural communities such as Ogoniland, Ahoada, Igwuruta and Oginigba. Campgrounds have been secured for visitors travelling from remote areas.

    Beyond the humanitarian efforts, Ashimolowo emphasised that the heart of CCRW remains evangelism. The goal is for 30,000 people to commit their lives to Christ, with nightly sessions featuring prayers, healing and miracles.

    Security has also been stepped up with 300 police officers and soldiers deployed for the six-day programme.

    A ministers’ conference will run alongside the crusade, featuring speakers from Nigeria, Ghana, Zimbabwe and the United States, including Pastor Poju Oyemade, Pastor Jerry Eze, Pastor David Ibiyeomie, Bishop Tudor Bismark, Dr. Festus Adeyeye, Jonathan Shuttlesworth and Rev. Steve Mensah.

  • Banky W decries extremes of prosperity, poverty gospel

    Banky W decries extremes of prosperity, poverty gospel

    Singer and pastor Olubankole Wellington aka Banky W, has weighed in on the growing criticism of church teachings on wealth, cautioning against sweeping generalisations while condemning abuses in some religious circles.

    Speaking during a recent discussion, the music executive said conversations around the “prosperity gospel” have become deeply polarised, with many Nigerians assuming that the failings of a few represent the entire church.

    “I don’t think it’s fair to make general statements that because I have seen evidence of this here it means everybody is guilty of this thing,” he said.

    Banky W noted that both extremes — the prosperity gospel and the poverty gospel — distort the core of Christian teaching.

    “The prosperity gospel is false and corrupted, the poverty gospel is also false and corrupted,” he said. “What the gospel said is that God will provide all of your needs and bless you enough for you to be a blessing.”

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    He added that popular expectations that Christians must either attain billionaire status or embrace lack are also misguided.

    “That is the promise — the promise is not that we are all meant to be Dangote and Otedola and it’s also not that we are meant to sleep under the bridge,” he said.

    While acknowledging that a segment of the church has misused these teachings, Banky W urged Nigerians not to paint all churches with the same brush.

    “There’s a segment of the church that has taken that and abused it and those allegations are true and I don’t like them either,” he said.

  • How Pasuma flew in from Germany to shoot my film, by Mama Ereko

    How Pasuma flew in from Germany to shoot my film, by Mama Ereko

    Veteran actress Morenike Alausa Sulaimon aka Mama Ereko, has recounted how Fuji star Wasiu Alabi Pasuma went out of his way to support her movie project despite being outside the country at the time.

    Speaking in a recent interview, the actress said she was on set when she learnt that Pasuma, who had 22 scenes in the film, was in Germany at the time of shoot.

    To her surprise, she said he returned to Nigeria solely to fulfil his commitment.

    According to her, the singer had to make discreet arrangements so those around him would not know he was travelling.

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    “He came from Germany to deliver his roles for my movie,” she said. “Pasuma knows I love him so much. I had a production where he was to play 22 scenes but he was in Germany. He left his clothes in his house there and bought new ones at the airport so his people wouldn’t know he was traveling.”

    Mama Ereko added that Pasuma returned abroad immediately after completing his scenes.

    “He came straight from the airport to my set, and after the production he left for Germany again. That’s a day I’ll never forget,” she said, noting with humour that she still owes him N10,000, “but he doesn’t even remember.”

  • How we propagated the Gospel of Afrobeats in the UK – Billy Que

    How we propagated the Gospel of Afrobeats in the UK – Billy Que

    One of Nigeria’s foremost music promoters, Biliamin Olabanji who is popularly known in the entertainment circuit as Billy Que has revealed how himself and other UK based showbiz music promoters like SMADE, Ayo Shonaiya, DJ Abass, Tim Westwood among others pushed Afrobeats music into the UK mainstream music industry by inviting and staging various promotional concerts for Nigerian artistes in the United Kingdom.  

    Speaking on its growing global influence and the fusion of West African and British urban sounds, Billy Que stated: “Before Afrobeats gained mainstream acceptance in the UK, what was popular then were Garage, Grime and Afroswing (UK rap) music, and of course, the Jamaican and Caribbean Dancehall music. Through our efforts by inviting talented and popular Nigerian artistes, especially the rising stars to the UK for shows, the genre gradually started gaining acceptance and popularity. It even got to a point that it caught the attention of the guys at BBC 1 Xtra and many of their DJs and AOAPs started throwing spotlights on the genre. During the formative days, Afroswing standardized the incorporation of African influences into the Black British music”, Billy Que revealed.

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    “Big accolades should be given to JJC, producer for the famed Black British Hip-Hop group Big Brovaz. He was one of the early pioneers of the sound in the UK and due to the lack of representation for African culture in the British music mainstream, he formed a group called the 419 Squad. The duo of Ayo Shonaiya and DJ Abass helped carve out distinctly African and Black diasporic music spaces through live events and media. The popular Nigeria’s corner at the yearly Nottting Hill Carnival becomes a big stage for Afrobeats artistes to perform in the UK.

    “BEN TV owned by Alistair Soyode became a pioneering source of African music entertainment TV in the UK, and with DJ Abass as a major presenter on the channel’s Intro talk show, the pair of Ayo Shonaiya and DJ Abass featured Nigerian trending stars like Tony Tetuila, Jazzman Olofin, The Trybesmen, Ruggedman, and even Jamaica’s Chaka Demus & Pliers.”

  • Testimony Jaga seeks justice for displaced residence

    Testimony Jaga seeks justice for displaced residence

    Gospel artist, Testimony Jaga has appealed to the Lagos State Government to urgently intervene in what he describes as a “humanitarian disaster” following the demolition of homes and shops along AIT Road, Kola, and the Powerline axis by officials of the Lagos State Building Control Agency (LASBCA).

    According to the singer, the government’s operation carried out under the justification that the structures fell within high-tension powerline extensions has plunged countless families into sorrow, homelessness, and in some cases, physical harm. Jaga said many victims are elderly people and widows who have nowhere else to go.

    He alleged that despite the government’s earlier claim that the cleared land would be used for the construction of a BRT garage and a Mechanic Village, the same land is now reportedly being allocated to individuals while construction of a mall and rows of shops has begun.

    He expressed concern that the government’s shifting plans are raising suspicion among affected residents who originally believed the demolitions were for public infrastructure.

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    The gospel artist further revealed that landlords in the community allegedly contributed a total of ₦25 million, which they reportedly paid through community channels to the Ministry of Environment, hoping their buildings and businesses would be spared. Instead, he said, the demolitions still went ahead, leaving many feeling cheated and abandoned.

    The demolitions, which lasted for days, shattered the lives of hundreds. Many now sleep outside, exposed to rain, mosquitoes, hunger, and the cold Lagos night.

    Testimony Jaga urged the government to return to the original development plan of a BRT depot and a Mechanic Village, arguing that these projects would create jobs and improve the economy of the community rather than displacing vulnerable people.

    ‘This situation is bigger than politics. It is about real human lives, real suffering and real families who have been pushed into despair. These people deserve justice and immediate relief,” said Jaga.

  • We don’t need another Wizkid – Obi Asika

    We don’t need another Wizkid – Obi Asika

    Director General/CEO of the National Council for Arts and Culture (NCAC), Obi Asika, has urged emerging artists to remain original and avoid being a version of an already existing artist.

    “Stop trying to be somebody that’s already out. We don’t need another Wizkid. Be the first version of you,” he said at the recently held ‘The Next Billion Dollar Sound: Music, Data & Digital Investment’ webinar.

    At the event, Asika’s keynote proved to be a reality check wrapped in decades of industry experience. Speaking directly to young and striving talents, Asika broke down the business, the emotional grind, and the spiritual unpredictability of building a music career in today’s digital world.

    According to Asika, the industry is not looking for duplicates of established stars. It is looking for originality. Many young artists think the key to success is recreating a sound that’s already winning. But Asika insists that uniqueness is what cuts through the noise.

    He explained that most overnight successes actually spend four to five years grinding before the public ever hears of them. They experiment, grow, fail, and restart.

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    “Sometimes you need to fail to really win because failure teaches hunger, discipline, and focus,” he noted.

    “Music is a lonely road. Artists often spend years chasing the feeling of their first hit, wrestling with self-doubt and searching for the next sound that connects. But the magic comes when artists lean into who they truly are,” he further said.

    He urged artists to learn the business side of music, everything from publishing to label partnerships, distribution deals, and even how to structure endorsement opportunities. Success, he emphasised, requires collaboration and informed decision-making saying, “If you retain 100% and you do nothing, you’re sitting on 100% of nothing,” he said. “Success requires collaboration. Whether you’re doing a deal in New York, Enugu, or Sudan, Asika stressed that nothing in this industry is free, smart deal making is the backbone of a sustainable career. Asika pointed to Asake as a modern case study in authenticity. Performing Yoruba, Fuji, and trance music, a combination nobody could have predicted, Asake is now a global force. His recent musical moment with Red Bull showcased his versatility and opened up massive touring possibilities. People may not understand the language, but they understand authenticity,” Asika explained.

  • Nigerian films are culture super powers across the world, says Odugbemi

    Nigerian films are culture super powers across the world, says Odugbemi

    Filmmaker and popular curator, Femi Odugbemi has opined that Nigerian films are already culture superpowers across the globe.

    Odugbemi recently made this known at an industry panel session while discussing the future of the Nigerian film industry in the digital age.

    In his words, “I think Nigerian films are cultural superpowers because if it is just about connecting with other cultures, we are already there. What we need is to build on what we have achieved so far to attract further collaborations and have a strong and viable industry.”

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    Odugbemi also opined that the Nigerian government can further support the film industry outside the shores of the country by intentionally creating an enabling environment like France and Germany have done with Francais Allianz and Goethe institutes to promote their culture and films in other host countries. He urged the government to look into this and begin work on it in earnest.

    Odugbemi is praised as one of the Nigerian film makers making an impact and flying the Nigerian flag high across the world.

  • Yemi Remi clears air on late Kanran

    Yemi Remi clears air on late Kanran

    Actor Yemi Remi has alleged that his late younger brother, veteran actor Chief Kanran, misrepresented his personal challenges to the public in a bid to seek financial assistance.

    Remi made the claim during an interview with Agbaletu TV, where he addressed several controversies that trailed the actor before his death.

    He said Kanran falsely reported sensitive issues, including claims about his wife’s death, a burnt car, his house, and even his age.

    “There was a time a woman called me to mourn my younger brother’s wife’s death and I told her I didn’t know anything about it,” he said. “She said he sent her an obituary, but I told her it was a lie.”

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    Remi added that Kanran had four children, each from a different woman, but that three died after he had publicly declared them dead earlier.

    “As for the house he claimed got burnt, it never happened,” he continued. “There was a plank staircase in front of the building that got burnt, but it didn’t affect his apartment.”

    He also clarified the actor’s age, saying Kanran often exaggerated it.

    “He told some people he was 75,” Remi said. “If that was true, I would be 89, because I have two younger ones after him. I will be 70 next year. He was 62 — he was born in 1963.”

  • My Father’s Shadow didn’t submit film to NOSC for Oscars, reveals Stephanie Linus

    My Father’s Shadow didn’t submit film to NOSC for Oscars, reveals Stephanie Linus

    Filmmaker and actress Stephanie Linus stirred a touchy conversation recently when she submitted that some filmmakers don’t identify with the Nigerian film industry yet latch onto the Nigerian name to promote their films.

    Linus, who was a panellist at one of the industry sessions held at the fifth edition of Peace Anyiam-Osigwe Nigeria Digital Content Regulation Conference, made this claim that stirred a broader conversation at the conference.

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    While making her submission on the topic, ‘From Volume to Value: The Future of Nigerian Motion Picture Industry in the Digital Age,’ Linus expressed that Akinola Jr. and Wale Davies’ film, ‘My Father’s Shadow,’ doesn’t entirely identify with the Nigerian film industry but only latches onto the country’s name to propagate the film.

    She noted that the film has been classified as the first Nigerian film to appear at the Cannes despite not being a Nigerian production, but only a Nigerian story.

    She buttressed her submission, revealing that while the Nigerian Oscar Selection Committee, NOSC, called for entry submissions, the brothers shunned the call but entered their film through another country for the Oscars.

  • Afrobeats is GDP, not just culture – Enilolobo

    Afrobeats is GDP, not just culture – Enilolobo

    Entertainment executive and artiste manager, Otunba Olumide Enilolobo, has raised fresh concerns over what he describes as the “systemic exploitation” of Afrobeats by major Western record labels, saying Africa risks losing ownership of one of its most valuable economic exports if urgent reforms are not made.

    Speaking ahead of his birthday, Otunba Enilobo said Afrobeats has grown beyond a cultural movement into a major contributor to Africa’s creative economy, with global music reports showing 30–40 per cent annual growth in African music streams and billions of plays across digital platforms.

    “But while the world celebrates the sound, the business behind it is quietly slipping away from African hands,” he warned.

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    Enilobo highlighted a pattern of unfair contracts, limited marketing investment, and imbalanced partnerships that leave many artists locked out of the long-term value of their own work. According to him, the situation is worsened by structural gaps in Africa’s music ecosystem — weak local labels, insufficient legal support, and poor artist-management systems.

    “When artists lose ownership, the culture loses ownership,” he said. “If we don’t act now, Afrobeats will become another global genre whose profits sit in boardrooms far away from the continent that created it.”

    He called for stronger local labels, better legal literacy for artists, and increased government and private investment in the creative sector, stressing that the industry’s potential extends beyond entertainment value.

    “Music is not just culture. It is GDP,” Otunba stated. “Africa cannot continue exporting creativity while importing the profits.”

    He urged African stakeholders to prioritise structure over hype, insisting that the future of Afrobeats depends on ownership, protection, and long-term vision.