The Nigerian music community, especially the Hip Hop ecosystem, experienced shock and grief with the news of Oladips, a talented rapper, reportedly passing away. However, hours after his supposed demise, conflicting reports emerged on social media, suggesting that the news could be a false narrative, potentially orchestrated as a marketing strategy for his upcoming debut album, ‘Super Hero Adugbo,’ scheduled for release in two days. Oladips later “resurrected” on November 23, 2023, confirming suspicions of a stunt to generate attention for his album. This raises questions about the album’s merit compared to the extreme marketing tactics employed.
Oladips, a presence in the music scene for nearly a decade, gained initial recognition through collaborations with Hip Hop star Reminisce, who signed him to his record label. Despite a brief stint in the mainstream and subsequent fallout with Reminisce, Oladips persisted in recording music, anticipating a shift in public attention to his work, which culminated in his debut album, ‘Superhero Adugbo.’ However, the album’s visibility stemmed more from his unconventional marketing approach than the inherent merit of his music and talent.
‘Superhero Adugbo’ serves as Oladips’ memoir, earnestly expressing his desire for recognition from listeners who may overlook his talent. The rapper, positioning himself as a street ambassador and the voice of the Nigerian streets, delves into the struggles that shaped his life, offering a collection of well-crafted songs driven by pain, self-awareness, and a strong hunger for success. His narrative touches on diverse themes, including dreams of superstardom, street life, family responsibilities, and philosophical reflections.
Despite Oladips’ commitment to portraying his authentic street experiences through his music, the decision to resort to extreme measures, such as faking his death for promotional purposes, raises ethical concerns. The album’s quality notwithstanding, the unnecessary and extreme nature of this marketing tactic, seemingly inspired by Mohbad’s posthumous commercial success, is provocative, immature, and manipulative. It also disrespects the memory of the late artist Mohbad.
While ‘Superhero Adugbo’ showcases Oladips’ talent and the domestication of Hip Hop in Nigeria, the irresponsible and manipulative marketing technique of faking his death detracts from the album’s potential success. The public goodwill he previously enjoyed may be compromised by the negative reception of this extreme promotional strategy, revealing a lack of reasoned guidance within his team.