Entertainment
Unveiling Highest Paid Nigerian Artistes
Gone are the days when
Nigerian artistes had to sleep at People’s door steps for their voice to be heard. Now they are not only running the show, they are also smiling to the banks in a big way. They now own the most fashionable cars, most beautiful houses and other endorsements.
Basically, each artiste has a standard fee for gigs, concerts, but for private parties such as birthdays, wedding etc, they charge according to their ratings.
The underlisted artistes are put together strictly on how much they earn per show, influence and other factors.
P-Square : P-Square can be referred to as the most consistent of all time. Without mincing word, the ‘Alingo’ exponents are rocking the town currently. Any show of concert that P Square graces is a big one.
Their official fee according to our source is N15 million. Most concerts during festive period have their faces on them, the music duo of Peter and Paul Okoye have featured in Forbes Africa Twice. They have recorded big concerts and have been presidential quests in at least five African countries according to report.
D.Banj: Nigeria Singer and song writer Dapo Daniel Oyebanjo is one artiste that sells shows in Nigeria. Virtually all big concerts in Nigeria would have D’banj face on it. Before he pitched his tent with good music in America, the Ogun State born singer charged N15 million per event appearance.
But now, his strength and availability has dropped drastically to the extent that he hardly graces some major concerts within the country.
At the moment, we gathered from close source that he charges between N5 million and N7 million as performance fee for local gigs, $80,000 to $150,000 for African Shows €40,000 to €60,000 for American shows.
2 Face: Innocent ‘2 Face’ Idibia is one artiste no body could push aside. As a result of his achievements in the music industry we learnt that the African queen crown charges N10 million per event at festive period. On a normal day he charges between N5 million and N6 million per show.
It will also interest you that the talented singer has huge investments in stocks and real estate with five multi million naira houses.
Timaya: The Egberi Papa I of Bayelsa is another artiste that has disappointed his critics who felt he cannot come out with hits again. All parties could not do without dancing to his latest song ‘Bum Bum Ukwu’ and other hit songs from the talented singer. This has earned him more shows outside Lagos where he has lots of fan base. He charges N5 million per show.
Iyanya: Project fame winner, Iyanya we learnt charges N2 million to N3 million per show. This Akwa Ibom born singer has been a force to be reckoned with in the entertainment industry. He shot him self to limelight when he dropped his first hit single ‘Kukere’ which has very unique dance steps.
Wizkid: Wizkid who will prefer to be referred to as Wizzy as he believes he is no More a kid in the game has indeed paid his dues in the industry. He has endorsements here and there. It will interest you to know that the talented singer earns between N4 million and N5 million per show.
Flavour: High life music star, Flavor has proved his critics wrong by churning out hits upon hits since his inception in the musical scene. We gathered that he charges between N2 million and N3 million. The talented musician whose wonderful combination of native language Igbo and English in most of his songs, has fetched him more fans.
Tiwa Savage: The Nigerian female celebrity collects N2.5 million per show and she is rated as one of the sexiest female celebrities in Nigeria.
Davido: Aye crooner, Davido can be referred to as super talented young singer Nigerian music mainstream have been enjoying tremendous transformation since the talented singer has been known for producing hit tracks. The Omo Baba Olowo as he is fondly called whose latest truck “Aye” seems to be every club favourite goes for N3 million to N3.5 million per show.
Banky W: Mr. Capable, Bankole Wellington is in a world of his own as a specialist in RnB Genre of music and he is smiling to the bank for his efforts. He is also a Samsung Ambassador.
Ice Prince: MI, Nigeria’s musician with six million downloads is number nine on richest African musicians list. He is two studio owner, a member of One Foundation and Plug N. Play ambassador. The Oleku crowner earns N3 million per show.
Omawunni: This is another talented female singer who entered into the music industry through West African Idol. She smiles home with N3 million per show.
Dare Art Alade: This is a soul singer with unique touches. The singer earns N3 million per show. He gets most of his shows through the wife who is an event planner. He is also a compere and he is doing wonderfully well.
Gice: Aside the fact that he is struggling with his carrer, Gice remains one of the talented musicians in the industry and can still pull crowd anytime any day. The talented singer collects N2 million per show.
Naetoc: Funky rapper, Naeto C needs little or no introduction. He has been shown love by several music lovers both home and abroad. The talented singer charges N1.5 million.
…culled from Global Excellence Magazine.
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The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.
Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.
“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.
Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.
“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.
The rumour had sparked concern among fans before the family’s clarification.
Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.
“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.
Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.
At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.
But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.
The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.
It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.
Beyond the film itself, Omotola’s interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.
For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.
“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”
Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.
Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.
Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.
That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.
Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.
Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.
Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.
Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.
The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.
Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.
What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.
Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.
Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.
Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.
Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.
And right now, that alignment seems firmly in her hands.
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