Beyond the Beats: Sarz, Ozedikus, and DJ Kaywise Expose the Dark Side of Afrobeats Exploitation

 

​The glitz and glamour of the Nigerian music industry, often referred to globally as the Afreobeats phenomenon, frequently mask a harsh reality for the architects of the sound: the producers and DJs. In a series of startling revelations on Saturday, February 28, 2026, three of the industry's most respected names—Sarz, Ozedikus, and DJ Kaywise—took to social media and podcasts to pull back the curtain on the systemic exploitation they have faced at the hands of popular artists.

​This conversation, which has since gone viral, highlights a deep-seated culture of entitlement where "big artists" often bypass financial obligations and credit requirements, leaving the creators of the hits struggling for basic recognition and compensation.

​Sarz: The "Notorious" Turn for Self-Preservation

​The catalyst for this industry-wide "confession session" was an interview featuring ace producer Osabuohien Osaretin, popularly known as Sarz, on the Afropolitan podcast. Sarz, the genius behind some of the biggest hits for stars like Wizkid and Lojay, revealed that his early career was marred by financial exploitation.

​"So many popular artists took advantage of me; they would make music with me and not pay me," Sarz shared. He recounted a specific instance where a prominent artist commissioned two songs but only paid for one. This experience served as a turning point. Sarz admitted that to protect his craft, he had to become "notorious" by enforcing strict, non-negotiable payment terms before stepping into the studio.

​Ozedikus: 30 Songs, Zero Pay, and Denied Credit

​Following Sarz's interview, Ozedikus, the producer responsible for Rema’s global breakout "Dumebi," shared an even more harrowing experience on X (formerly Twitter). He reflected on the 2016/2017 period of his career, describing a two-month stretch where he produced over 30 songs for a single musician.

​Shockingly, Ozedikus claimed he was paid for none of those tracks. Even more damaging was the lack of professional courtesy; when one of the tracks was eventually released, the artist allegedly refused to even tag him on Instagram for "exposure."

"I was begging just to be tagged on IG for ‘exposure.’ Still didn’t happen," Ozedikus wrote. This revelation underscores a disturbing trend where producers are treated as disposable tools rather than creative partners.

​DJ Kaywise: The Broken Promises of "Industry Lamba"

​The exploitation isn't limited to the studio booth; it extends to the turntables. Renowned disc jockey DJ Kaywise joined the fray, calling out veteran rapper Eldee The Don. Kaywise alleged that in 2012, Eldee promised to sign him to his record label, Trybe Records, in exchange for massive promotional work.

​Kaywise claims he produced over 1,000 mixtapes for the label and its artists, only for the promise of a contract to vanish once the work was done. Labeling it his first "major industry lamba" (deceit), Kaywise stated that this betrayal is the reason he has remained an independent artist for over a decade. While Eldee The Don has yet to respond, the allegation has sparked a debate on the ethics of "talent-for-equity" promises in the music business.

​The Industry Crisis: Why Does This Keep Happening?

​The stories shared by Sarz, Ozedikus, and DJ Kaywise point to several systemic issues in the Nigerian music industry:

• ​Power Imbalance: New producers often feel they must "pay their dues" by working for free for established stars, hoping for a breakthrough that never comes.
• ​Lack of Formal Contracts: Much of the industry still operates on "gentleman's agreements" rather than legally binding contracts, leaving creators with no recourse when payments are withheld.
• ​Credit Erasure: By denying producers public credit, artists maintain the illusion of being the sole architects of their success, which prevents producers from leveraging hits to get better-paying work.

​Conclusion: A Call for Structural Change

​The bravery of these three icons in speaking out suggests that the "silent era" of exploitation may be coming to an end. As Afrobeats continues its global ascent, the focus must shift toward protecting the intellectual property and financial rights of producers and DJs. Without the "beats," there is no "Afrobeats," and it is time the industry reflects that reality in how it treats its creators.