Odumodublvck Sparks Outrage With ‘Hip-Hop Is Dead’ Claim

Odumodublvck has ignited fresh controversy by declaring that hip-hop is dead in Nigeria, pointing to the absence of rappers from the current top 10 Nigerian artists on Spotify

In Abuja on 19 June 2026, Nigerian rapper Odumodublvck has stirred strong reactions after boldly declaring that “Hip-hop is dead” in Nigeria, reigniting a long-running debate about the genre’s relevance in the country’s music scene.

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The ‘Declan Rice’ hitmaker made the controversial statement on X while reacting to the latest Spotify monthly listeners ranking, which showed no hip-hop artists in the top 10 Nigerian acts.

The list is currently dominated by Afrobeats stars, led by Burna Boy with 40.68 million listeners, followed closely by Tems (40.64m), Rema (29.43m), Ayra Starr and Wizkid.

Odumodublvck’s post read simply: “Hip Hop is dead,” directly echoing a similar claim once made by superstar Wizkid.

The remark has drawn sharp criticism from fans and fellow artists, many of whom accused him of disrespecting the culture and ignoring the contributions of both veteran and emerging rappers.

Others, however, agreed that hip-hop struggles to compete commercially with the global dominance of Afrobeats.

Despite the presence of respected rappers such as Vector, M.I Abaga, Phyno, Olamide, and a new wave of talents, none currently feature among Nigeria’s most-streamed artists on Spotify.

Singers occupy the entire top 10, with Omah Lay, Davido, CKay, Fireboy DML and Asake completing the list.

The controversy highlights the ongoing tension between hip-hop purists and the mainstream Afrobeats explosion that has propelled Nigerian music to global heights.

While hip-hop retains a dedicated underground following and cultural significance, its commercial numbers pale in comparison to the melodic, dance-driven sound currently ruling charts worldwide.

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Odumodublvck’s comment has once again thrust the state of Nigerian hip-hop into the spotlight, prompting fresh conversations about visibility, streaming power and the future of the genre.