In a surprising yet respectful development, Nigerian singer Omah Lay and his longtime manager Muyiwa Awoniyi have officially ended their professional relationship, July 25, 2025.
The announcement, made public on July 25. has stirred heated debates about artist management, exploitative contracts, and the challenges of creative independence in Nigeria’s music industry.
The Official Announcement: Respectful but Final
Muyiwa Awoniyi announced the split on his X (formerly Twitter) handle with a message filled with warmth and respect.
He wrote, “With love and respect, I am no longer managing @Omah_Lay.
That’s my brother and I wish him all the best in his endeavours for life!”
The announcement suggested a clean break free from conflict, emphasizing ongoing friendship and support.
Shortly after, Omah Lay responded with heartfelt admiration and gratitude, calling Awoniyi “the most intelligent nigga I’ve met so far in the game”
And expressing everlasting appreciation for the former manager’s role in his career development.
The Sarcasm and Public Backlash
Despite the seemingly cordial split, social media reaction became controversial quickly.
Another artist, Kaestyle, reacted with biting sarcasm, implying Awoniyi was fired but is masking that fact under a facade of respect by using social media to save face.
In response, Awoniyi sharply countered the insinuation.
He revealed the deeper reasons behind the professional parting, accusing previous industry practices of exploitation a theme rarely publicly acknowledged in Nigerian music circles.
Muyiwa Awoniyi’s Bombshell: A Fight Against “Slave Deals”
Muyiwa claimed that his decision to manage Omah Lay was primarily to help the singer escape what he described as a “slave deal.”
He said, “I agreed to manage Omah to get him out of the very slave deal that you signed.
Now he is out, I also am out. You on the other hand are a slave.”
This statement exposes the darker side of artist management in Nigeria, touching on the exploitative contracts that have long compromised artists’ ownership rights and creative freedom.
According to Awoniyi, Omah Lay now runs his career independently through his company, Boy Alone, and crucially owns his music masters.
“With Boy Alone now a fully established company, the journey moves forward on his own terms.
The best part? He will now be owning his masters. I hope the delay now makes sense. Job done,” he added.
A Closer Look: The Industry’s Exploitative Practices
Awoniyi’s revelation shines a brutal light on prevalent “slave deals” in the Nigerian music scene, where young artists are often trapped in unfair contracts that deny them control over their music and earnings.
His public admission challenges industry norms where such issues remain largely hidden.
This controversy underscores the urgent need for reform in artist contracts and stronger advocacy for musicians’ rights.
It also positions Awoniyi as an outspoken champion of fairness, complicating his departure as not just a routine managerial split but a principled move.
Relationship and Legacy: Beyond Professional Boundaries
Despite the split, both parties emphasize mutual respect and ongoing friendship. Omah Lay’s warm public praise demonstrates gratitude and recognition for Awoniyi’s instrumental role in his rise.
Awoniyi himself has maintained a strong reputation as a strategic manager behind major Nigerian stars, including Grammy-winning singer Tems.
His departure from Omah Lay’s camp marks the end of a significant chapter characterized by artist development and breakthrough success.
Public and Industry Perspectives: Mixed Signals
Among industry watchers and fans, opinions diverge.
Some view Awoniyi’s exit as a natural evolution of rapidly growing talents seeking independence.
Others speculate that unspoken tensions, including contract disputes and creative control battles, influenced the split.
Kaestyle’s sarcasm reflects a sector that often equates managerial changes with power struggles.
Meanwhile, Awoniyi’s candid disclosure of exploitative deals brings renewed focus on the systemic problems artists face.
What This Means for Omah Lay’s Future
Freed from the “slave deal,” Omah Lay now manages his career under his own label.
Owning his masters allows unprecedented control and potential revenue from his music, a strategic advantage empowering artistic freedom.
However, this independence also brings new challenges handling business logistics, marketing, and contract negotiations without traditional management.
Fans and industry observers will watch closely to see how Omah Lay navigates this critical phase.
A Controversial but Necessary Conversation
The public airing of this managerial split serves to question accepted norms around artist contracts and management in Nigeria.
Awoniyi’s bold criticism presses the industry to confront uncomfortable truths about how creative talents are often exploited.
His parting words and revelations could encourage more artists to demand transparency, fair dealings, and ownership of their work.
It also casts Awoniyi as a vocal advocate for artist empowerment, even at the cost of ending lucrative managerial ties.
A Turning Point in Nigerian Music Management
The July 25, 2025, split between Muyiwa Awoniyi and Omah Lay is more than a simple end to a professional partnership.
It is a microcosm of the ongoing struggles around artist rights and industry fairness.
Ownership battles, transparency, and respect for artists’ autonomy must now take center stage.
This story will continue to spark debate and reflection in an industry eager to evolve beyond exploitative practices toward genuine empowerment.
Leave a Reply