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Dapper Responds to Claims by Seyi Vibez, Shallipopi, T.I Blaze

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Music & Artistes

Dapper Responds to Claims by Seyi Vibez, Shallipopi, T.I Blaze

Dapper Responds to Claims by Seyi Vibez, Shallipopi, T.I Blaze

Dapper responds to Seyi Vibez and Shallipopi, denying their allegations and calling for independent audits of contracts and financial records

Nigerian music executive Damilola Akinwunmi, popularly known as Dapper and CEO of Dapper Group, has responded to allegations made by singers Seyi Vibez, Shallipopi and T.I Blaze over their professional dealings with him.

Also read: T.I Blaze accuses Dapper Music over alleged N1.2bn royalties

Dapper addressed the controversy on his X account on Sunday, 16 August 2026, denying the claims and insisting that records relating to the disputed agreements and transactions are available.

The music executive said he would not engage in personal insults, arguing that the relevant authorities and legal processes should be allowed to establish what happened.

“I will not demean myself by disrespecting the one thing I stand on, which is my love for music. So I won’t stoop so low as to engage in insults,” Dapper wrote.

“I have nothing to hide. The records exist. The authorities have them. Let the process establish the truth.”

The response followed a series of public allegations involving Dapper and some of the artistes associated with his business operations.

Seyi Vibez had made claims concerning their professional relationship, while Shallipopi also accused Dapper of wrongdoing involving his signature. T.I Blaze has similarly featured in the wider dispute.

Dapper rejected the accusations and challenged the artistes to submit their contracts and financial records to independent scrutiny.

He suggested that major auditing firms and law firms could conduct a forensic examination of the relevant documents and determine whether the financial and contractual arrangements had been properly handled.

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“If e sure for any of you, make we go KPMG, PwC, Deloitte, Templers, Aluko & Oyebode, Olaniwun Ajayi LP, Udo Udoma & Belo-Osagie,” he said.

“Let them run a forensic analysis and interpret both the accounts and the contract for us, and tell you I cheated you.”

Dapper also disputed Shallipopi’s account of a scheduled appearance, claiming that he attended the event while the artiste did not.

“For our last scheduled appearance, you didn’t show up. I was there, but you wanna come online and say, ‘let’s meet in court’,” he said.

He added that the records remained available and that the appropriate processes were already underway.

The dispute has brought renewed attention to the contractual and financial relationships between Nigerian artistes and the executives who manage their careers.

Such arrangements can involve recording agreements, advances, publishing rights, performance commitments and revenue-sharing structures, making contractual documentation particularly important when disagreements arise.

Dapper also addressed Seyi Vibez’s claim about who was responsible for the artiste’s early career development.

He said his relationship with Seyi Vibez began in 2021 and claimed that he invested money in the singer’s first project before receiving music in return.

“For the avoidance of doubt, this relationship began in 2021, and it began with me putting money down for your first project before getting any music from you,” he said.

He then questioned the suggestion that one party was solely responsible for the other’s success.

“So who made who? God made me,” Dapper added.

The increasingly public nature of the dispute has generated significant discussion among Nigerian music fans, particularly because the individuals involved occupy prominent positions in the country’s contemporary music industry.

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However, the allegations and counter-allegations remain claims from the parties involved.

There is no independent finding in the material available establishing that either side’s account is correct.

Dapper’s call for forensic examination of the contracts and financial records could provide a clearer route towards resolving the dispute if the parties proceed with such a process.

For now, the music executive maintains that the relevant records exist and that formal processes should determine the facts rather than competing narratives on social media.

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The controversy is therefore likely to continue attracting attention as the parties consider their next legal and professional steps.

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