2027: Vote Tinubu or face spiritual judgment – Portable tells Yorubas

Nigerian singer Divine Ikubor, popularly known as Rema, has revealed why he broke up with his ex-girlfriend, claiming that she was “quite manipulative”.

In an interview with YouTuber Korty EO, Rema said the relationship was “beautiful” but not always peaceful.

The singer lamented that sometimes when he returns home hoping to rest from the pressure of the outside world, his then girlfriend often greeted him with chaos.

He said he eventually walked away when he could no longer tolerate her excesses.

“My romantic relationship was beautiful but a little quite manipulative. So much pressure. Knowing the world puts so much pressure on me but coming back home is where you want to feel relieved but when you come back home and you are getting more pressure, it’s a different story. For now, I’m done,” he said.

Why I broke up with my ex-girlfriend – Rema

The surviving half of the Adegbodu Twins music band, Kehinde Adegbodu, has finally addressed concerns about his health.

DAILY POST reports that netizens have raised concerns about the gospel singer’s physical appearance and sudden weight loss, with many of his fans calling on some of his close associates and clergymen to check on and intercede for him.

However, addressing the public’s concerns about his sudden weight loss, Kehinde Adegbodu said he is currently on a diet following repeated medical advice from health professionals urging him to reduce his protruding tummy.

He further revealed that the advice was given to him after the sudden death of his twin brother, Taiwo Adegbodu, who also had a big tummy.

“I have been seeing different comments. Someone said I slimmed down. Yes, I slimmed down for the benefit of my well-being. A lot of medical professionals reached out to me after my twin brother, Taiwo’s, death. They advised me to work on my big tummy. Many of them expressed regret for not advising us earlier before Taiwo’s death.

“That’s why I slimmed down. I have been on a diet. There’s nothing wrong with me; I’m not sick. There’s nothing as good as being healthy. And I pray for everyone who genuinely feels concerned about me that God will not abandon you all. And to those making jest of me, may God reward you all accordingly. Please continue to pray for me. I’m still very much in need of your prayers, and I believe that God will protect and watch over me,” he said.

DAILY POST reports that Taiwo Adegbodu died of a heart attack on February 28, 2026, after driving himself to a hospital in Ibadan, Oyo State, to complain of chest pain.

Watch him speak.

I was told to work on my tummy – Kehinde Adegbodu reacts to concerns about his health

Kizito Ahams joined the call from Geneva, Switzerland. He had just come off a full day of meetings at a conference exploring the intersection of AI and the creative economy, agriculture, education, music, all of it. He was tired. He was also, unmistakably, still thinking.

That combination, exhaustion and intellectual restlessness, turned out to be exactly the right entry point for a conversation about what it actually takes to build something like Afrocroiser from the ground up.

Kizito is Mavin’s Senior Manager, Licensing and Publishing – and the person who conceived the idea for the camp nearly two years before the documentary dropped. By his own admission, he is not the person you see in the front of the frame. But without him, there is no frame.

I caught up with him the evening after a long travel day.

You mentioned the idea for this camp started about two years ago. How did it actually come together?

“I had early interactions with some of the leaders at SACEM a little under three years ago. I was invited for a speaking engagement, and they happened to be in the same territory. After the speaking engagement, we struck up a conversation and built a relationship. We just knew that we had to do something together. SACEM is the oldest performance rights organisation in the world, and, given their excitement about what is going on in Africa and Mavin, I figured there must be common ground for us to do business together. But you know how these things work. There has to be the right time, the right partner, the right budget, all the stars aligned. So, we decided to host them this time around, and to elevate it, we sold the vision of making it a more experiential, cultural exchange programme rather than just a music programme. I got Jimmy on board as the creative guy. We had weeks and months of preparation, along with several meetings with SACEM and the French Embassy. And then they came aboard.”

Many people watching the documentary will see the creative side. But you were managing contracts, splits, IP. How did you balance the business side without killing the creative energy in the room?

“Creatives naturally have the behaviour of wanting to say, hey, let us do this, vibe out, what comes out comes out. But because we were working with people from different demographics, different cultures, we had to educate them early. We signed splits early and negotiated percentages for everybody who would contribute to a record before they even started recording music. We had the French producers sign before they came around. We had the Nigerian talents sign when they joined. Because you do not want to put out a record tomorrow, it has a billion streams like Calm Down, and then people start fighting about credits. The hallmark of what we are doing is protecting their rights and exploring more innovative ways to exploit their intellectual property. Creativity and business can go hand in hand. That is how I see it.”

You talked about having a soft spot for the people behind the scenes, the songwriters and producers who do not get the flowers. Is that what this documentary is ultimately about?

“Without the songs, there is no music. Without the melodies, without the lyrics, without the beats, there is no music. The songwriters are still the most important people in the music industry because everything starts with them. I am passionate about making sure they are better positioned, well represented, and achieve success. And I want to be a conduit, a bridge that connects them to the right opportunities. We also want to demystify some myths about songwriting in the Afrobeats space. Sometimes people think songwriting means writing words on paper and emailing them to an artist. But sometimes it starts from a melody. These guys record the song from start to finish so the recording artist can even hear it, like it, and then put their own spin on it. That is the story we want to tell.”

What do you hope Afrocroiser achieves in the bigger picture?

“I want people to remember that Afrobeats is boundless. There are no territorial limits to how far our music can go. And I want people to know that Nigeria can be a home for collaboration. Our talents are multi-talented. There are phenomenal videographers, cinematographers, and content creators here. When Burna Boy does a song that approaches a billion streams, it is not just Burna Boy. It is the music executives, the business managers, the lawyers, the content creators, and the band. It takes a village. We are trying to say that we can tell these stories too, even though we are not at the forefront. Through the work we put in front of you, you can appreciate how the industry is growing and think about the people behind the scenes who make it possible.”

Kizito ended the conversation by mentioning Terry Cruise dancing to a Nigerian song in a film, and FIFA inviting the artist to perform at the World Cup because of the sync placement. He used it to make a point that landed quietly but stayed with me. Sometimes people hear African music for the first time through a film, an advert, or a scene. The creative industry is still one of the most powerful ways to export culture worldwide. And the people making sure that music is properly placed, properly credited, and properly compensated are the ones working at the back end, largely invisible, entirely essential.

Kizito is one of those people. Afrocroiser’s argument is that they deserve to be seen.

“Without the song, there is no music”- Mavin’s Kizito Ahams on business behind Afrocroiser