Nigerian rapper Blaqbonez has sparked fresh conversation online after describing the music industry as “very wicked,” citing what he sees as a lack of mutual support among artists.

The “Chanel” crooner expressed frustration on his X (formerly Twitter) account, claiming that despite consistently supporting fellow artists by promoting their music, he often receives little to no support in return when he releases his own songs.

He specifically mentioned international stars such as Drake, Central Cee, Future, and Gunna, stating that he regularly shows them support but feels ignored when it matters most for his own releases.

Blaqbonez wrote that despite releasing what he described as “the biggest song of the summer,” he was met with silence from peers, which he interpreted as a double standard within the industry.

This is not the first time the rapper has raised concerns about the state of the Nigerian music scene. In previous years, he accused some artists of using streaming farms to artificially boost numbers, a claim that was widely disputed by industry figures including Don Jazzy and rapper Odumodublvck.

Despite the backlash, Blaqbonez has continued to insist that such practices exist and believes they have negatively affected fairness and transparency in the industry.

Opinion: Blaqbonez Is Highlighting a Real but Unspoken Industry Problem

What Blaqbonez is expressing reflects a wider issue in modern music culture — not just in Nigeria, but globally.

The idea of “industry support” has always existed, but in today’s streaming-driven era, attention is currency. Artists are often expected to promote others while also fighting aggressively for visibility themselves, which creates imbalance and frustration.

His complaint about inconsistency may feel emotional, but it also exposes how competitive the industry has become. Many artists now operate more like independent brands than community members, and that shift reduces the natural peer-to-peer promotion that used to exist.

At the same time, support in music is rarely as straightforward as reciprocity. Bigger artists receive constant promotional requests, and their decisions are often based on strategy, timing, and audience fit rather than personal loyalty.

Still, Blaqbonez’s comments raise an important point: when artists feel the system rewards manipulation or silence over genuine collaboration, trust begins to erode.

Whether one agrees with his perspective or not, the discussion shows that beneath the glamour of Afrobeats success lies a highly competitive environment where attention is unevenly distributed — and not always fairly.