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Nigerian singer Crown Uzama, popularly known as Shallipopi, has made fresh allegations against music executive Dapper Music amid their ongoing dispute over royalties, music catalogues and the financial management of his music.
The singer took to X to raise questions about money he claimed remains unpaid to him, alleging that Dapper Music has withheld royalty earnings from 46 of his songs.
Shallipopi specifically mentioned his hit song, “E Don Cast”, among the tracks for which he claimed he was yet to receive his royalty income.
“Dapper nor forget na my laho money Dey with me o, u Dey hold me 46 songs royalty income including my ‘E don cast’ money,” he wrote.
The allegation adds another layer to the increasingly public disagreement between the singer and the music executive, with Shallipopi now raising concerns about the handling of his catalogue and earnings from his recorded works.
Shallipopi Claims Catalogue Was Sold
Beyond the alleged unpaid royalties, Shallipopi accused Dapper Music of taking music catalogues belonging to artistes to Virgin Music and receiving money from transactions involving the catalogues.
The singer claimed his own catalogue was also sold and questioned why he had allegedly not been properly accounted for.
“Dapper you Dey hold me money o, and u sell my catalog now u Dey act confuse, I go EFCC office i go write statement against u,” he said.
His reference to the Economic and Financial Crimes Commission, EFCC, suggests that the dispute could potentially take a legal or regulatory direction if he follows through with his threat to submit a formal petition.
The singer did not provide further details in the posts about when the alleged catalogue transaction took place, the amount involved or the specific agreement governing the management of his songs.
Singer Questions EFCC Information
Shallipopi also made another serious allegation, claiming that Dapper Music had provided false information to the EFCC.
He suggested that his concerns were not limited to his own situation, alleging that other artistes had also been affected by what he described as questionable dealings.
“And u go another EFCC office Dey lie for them, you forget say nor be only me u scam lol,” the singer wrote.
The allegations remain claims made by Shallipopi and have not been independently established based on the information available.
Dapper Music’s response to the latest accusations was also not included in the statements provided.
More Criticism From Shallipopi
The singer’s posts became increasingly critical as he continued addressing his former music executive.
Shallipopi accused Dapper of being a manipulator and claimed the executive had taken advantage of younger people within the music industry.
“Jude nor sabi work reach u and you know broski u be master manipulator,” he wrote, before making further allegations about the executive’s dealings with artistes.
He also suggested that he had protected himself from suffering a worse outcome in the dispute, writing, “Dapper if to say I nor guide na so u for end men, men mount sha.”
The comments reflect the level of tension surrounding the relationship between the singer and the executive.
Growing Dispute Over Music Earnings
The latest allegations come amid increasing public discussions involving Dapper Music and artistes over royalties, catalogue ownership and revenue generated from recorded music.
Shallipopi’s claims are particularly significant because catalogue ownership can determine who controls the commercial exploitation of songs and who receives income generated through streaming, licensing and other uses.
The singer’s allegation that royalties from 46 songs remain unpaid has therefore raised questions about the agreements surrounding his music and the management of his catalogue.
However, details of any contracts between the parties have not been made public in the information provided.
For now, the dispute remains a public exchange of allegations, with Shallipopi threatening to approach the EFCC over what he claims happened to his money and catalogue.
The singer’s latest statements are likely to draw further attention to the business arrangements between Nigerian artistes and music executives, particularly regarding ownership, royalties and transparency in the management of music catalogues.
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