Shallipopi Accuses Dapper of Withholding Royalties and Selling His Catalogue

The ongoing drama between Dapper (Damilola Akinwunmi, CEO of Dapper Music) and Shallipopi (Crown Uzama) centers on allegations of withheld royalties, unauthorized catalogue deals, contract irregularities, and financial opacity.

This is not an isolated spat. It involves other former Dapper Music artists (notably T.I Blaze and Seyi Vibez) making similar claims around the same time, turning the dispute into a broader conversation about artist-label relationships, management commissions, and transparency in the Nigerian music industry. Dapper, who is also known as the boyfriend of celebrity chef Hilda Baci, has strongly denied the accusations and called for independent forensic audits.

Shallipopi rose to prominence under Dapper Music. Their partnership helped propel hits and his career trajectory. In December 2024, Shallipopi publicly announced he was ending agreements with Dapper Music and its affiliate Dvpper (or Dupper) Digital. He cited a breach of trust, mishandled finances, lack of transparency, and an allegedly unfair arrangement under which the company would continue taking a significant cut (around 30%) of his earnings even after the relationship ended. He claimed the label prioritized its own profits, pushed him into related deals, and mishandled advances tied to his name and catalog.

Dapper Music rejected the claims at the time. The label stated there was no perpetual “forever deal,” that terms had been renegotiated with legal representation after the success of Shallipopi’s first album, that full accounting had been provided, and that it was cooperating with any auditors engaged by the artist. Similar pushback came regarding other departing artists.

On or around August 14, 2026, T.I Blaze, Shallipopi, and Seyi Vibez posted public accusations on X (formerly Twitter) against Dapper. Shallipopi’s claims were among the sharpest:

• He alleged Dapper was withholding royalty income from about 46 of his songs, including the hit “E Don Cast.”

• He accused Dapper of taking artists’ catalogues (including his) to Virgin Music (a major-label partner associated with Dapper since around 2023), collecting money from the deals, and failing to properly account for or pass on the proceeds.

• He threatened to (and later indicated he had) report the matter to Nigeria’s Economic and Financial Crimes Commission (EFCC), claiming he was not the only artist affected and accusing Dapper of misleading the agency.

• In follow-up posts, Shallipopi alleged that he had only signed a management deal in 2023, but that Dapper forged his signature to create a 10-year distribution contract (despite him already using DistroKid) and further forged a signature to sign with Virgin Music Group, pocketing advances while telling him to “work more” because the money was “in the future.”

These posts fueled widespread discussion on Nigerian social media, with the names involved trending.

Dapper broke his silence around August 15–16, 2026, denying the royalty and catalogue-sale allegations. He rejected the idea that he had cheated the artists and challenged them to submit contracts and financial records for independent forensic review by reputable firms such as KPMG, PwC, or Deloitte (and named several top law firms as well). He stated he has nothing to hide, that records exist and are with the relevant authorities, and that proper processes are ongoing.

Addressing Shallipopi specifically (sometimes referring to him as “Mr. Elon”), Dapper pointed to what he described as inconsistencies: earlier public comments about being pressured into a Dapper Digital deal versus later forgery claims. He claimed the professional relationship dated back to 2021, when he funded an artist’s debut project before receiving music in return, and questioned “who made who.” He also disputed accounts of a missed scheduled appearance, saying he showed up while Shallipopi did not, and accused the artists of choosing to leave and then continuing to “act obsessed” rather than moving on.

As of mid-August 2026, the dispute remains largely a war of public statements and social-media posts. No independent verification of the specific royalty figures, catalogue proceeds, or forgery claims has been publicly confirmed through court filings, completed forensic audits, or official EFCC findings in the available reporting. Shallipopi has indicated he has provided statements to the EFCC and wants the matter treated seriously by authorities, the media, and the public. Dapper continues to emphasize that evidence and process should decide the truth rather than online narratives.

The episode highlights recurring tensions in the Nigerian (and broader African) music business: the power imbalance in management and distribution deals, questions around how advances and catalogue licensing work when independent labels partner with majors like Virgin, the role of 30% management commissions, and the difficulty artists face in obtaining clear, ongoing financial transparency. Similar public fallouts have occurred elsewhere in the industry when relationships sour after commercial success.

Both sides have framed their positions in strong terms. Shallipopi and the other artists speaking of being scammed or manipulated, Dapper insisting on accountability through professional audit and legal processes while defending his early investment and support. The outcome will likely depend on whatever formal investigations, audits, or legal actions follow. For now, the public conversation continues to revolve around who owes what, what the contracts actually say, and how fairly the money from hits and catalogue deals has been handled.