By Durojaiye Segun Oluwaseun.
In the realm of music, where souls find solace and dreams take flight on harmonious wings, a haunting symphony of injustice plays on. It is the tale of Ilerioluwa Aloba, lovingly known as MOHBAD, 27 a virtuoso silenced not by the fading echoes of his compositions, but by the oppressive chords of a former record label. His melodies, once poised to conquer hearts and minds, now resonate in the halls of tragedy, echoing the price of artistic suppression.
In the annals of music, a tragic tale unfolds, one that transcends the confines of notes and melodies. The life of Ilerioluwa Promise, popularly known as MOHBAD, a brilliant maestro, was marred by the oppressive grip of a former record label, the Marlian Record Label, ultimately leading to his untimely demise. This is a symphony of injustice, a requiem that beckons the government’s ear to the cries of artists ensnared in the merciless clutches of the industry. It is time for the baton of intervention to rise, to ensure that the chords of creativity are no longer silenced by the weight of exploitation.
The young, little Champ was a lover of the streets, always striving to make his fans elated, even at the expense of his own well-being. Yet, amid his own struggles with oppression, he continued to gift the world with spirited songs, though the gravity of his circumstances often went unnoticed.
Read Also Tinubu govt has no solution to economic hardship – Primate Ayodele warns Nigerians
This narrative paints a stark picture of an industry once dedicated to entertainment, enlightenment, and education, now marred by the shadow of thuggery, the specter of cultism, and a nexus of illicit dealings. Gone are the days when musicians used their intellectual prowess to wage war against societal oppression. Instead, a new era has dawned, ushering in figures who amplify fraud and substance abuse, perpetuating a culture that glorifies criminality.
Naira Marley, a figurehead of this shift, rose to prominence on the back of promoting fraud and substance use, even assuming the role of an ambassador for the NDLEA, a baffling mentorship for the younger generation. The industry, once a beacon of creativity, now finds itself entangled with rising stars who, once initiated into record labels, face systematic bullying until they are left grappling with depression.
For MOHBAD, the weight of this oppression became unbearable. After mustering the strength to exit the Marlian Record Label, he found himself relentlessly pursued by individuals intent on maintaining their control. One such figure, Samson Eletu, known as SAM LARRY, exerted emotional and physical torment until MOHBAD could no longer withstand the strain. He sought an eternal peace he had longed for on Earth.
The industry’s transformation, from a sanctuary of creativity to a breeding ground for moral decay, demands our attention. The narrative of MOHBAD serves as a poignant reminder that artists, our cultural vanguards, deserve better. It is time for the government to hear their voices and intervene, ensuring that the symphony of creativity once again thrives, free from the shackles of exploitation.
As the final note lingers, let it be a call to action. Let MOHBAD’s legacy be a testament to the resilience of artists, and let us stand united against the discord of injustice, demanding a brighter future for the voices that enrich our world with their music, also as the sober notes of his untold story reach a crescendo, we raise our voices, demanding an encore of justice that resounds beyond the confines of his grave.
Thus, It is time for the government to lend an ear to this silenced sonnet and rewrite the verses of an artist’s legacy, unbound by the chains of oppression. It is a call to the highest echelons of power, imploring them to listen to the unsung melodies that were denied their rightful audience. It is a plea for justice and reform in an industry that has silenced too many voices for too long, a deep call to effect justice for MOHBAD
