After triumphing on Big Brother Naija, Hazel Oyeze Onou, popularly known as Whitemoney, has been captivating the Nigerian music industry with his remarkable presence.
Nevertheless, his entry into the music scene has sparked some controversy.
During an interview with Echoo Room, Whitemoney took a bold stance by issuing a stern warning to Nigerian show promoters.
He expressed his conviction that these promoters would rue their decision of not extending their support to him during the initial stages of his musical journey.
Drawing a parallel between himself and international Afrobeats star Burna Boy, Whitemoney suggests history is repeating itself.
“Nigerian promoters did the same thing they are doing to me to Burna Boy and Davido,”
he stated.
He implies that a lack of initial domestic support fueled Burna Boy’s global rise. Whitemoney believes that once international recognition arrives, Nigerians will be forced to acknowledge his talent, but at a steeper price. He warns promoters,
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“They [Nigerians] would be forced to now believe in you and they will pay times two.”
Whitemoney’s comments ooze confidence bordering on arrogance. He declares,
“Nigerian promoters will regret not supporting my music. Your only prayer should be that I shouldn’t make it in this music industry because if I make it, you all will pay.”
This statement positions him as an underdog, destined for international success despite perceived domestic neglect. Whether this strategy fosters support or alienates potential collaborators remains to be seen.
Further emphasizing his individuality, Whitemoney asserts his dominance in a self-created musical genre. He proudly proclaims,
“I’m a king in my lane. For me, nobody rivals my talent. You’re good in your way but me I am the king. That’s why I have my own genre. I don’t do Afrobeats or highlife. My genre is Kumkum.”
This declaration sparks curiosity. Is “Kumkum” a fully-fledged genre with established characteristics, or a personal branding tactic?
