On Ojazzy vs Kcee

On Ojazzy vs Kcee

I recently came across a post by my friend Obi Trice Emeka, in which he explored the limitations of our current thought process in facilitating development. At first, I had my reservations, but after reading the series of Mazi Ejimofor Opara and his supporters, who claim that Ojazzy, the young flutist who Kcee Limpopo featured in his hit song Oja-piano, has committed a crime by rightfully demanding what he is owed from Kcee Limpopo, I find myself compelled to agree with Trice’s assertion that our present mindset hinders progress rather than elevating our consciousness to align with the standards of the first world.

Mazi and his followers seem to support Kcee Limpopo and oppose Ojazzy, which raises questions about whether we’ve accepted exploitation and modern slavery as norms, despite advocating against such injustices before now. This inconsistency makes some of us appear hypocritical, all because of the individuals involved.


Not too long ago, we collectively called for “justice for Mohbad,” a Lagos-born artist, Ilerioluwa Aloba, whose death was linked to depression and anxiety due to exploitation and mistreatment by his former record label owner, Fashola Azeez, also known as Naira Marley. Mohbad’s tragic demise exposed the dark side of the music industry, revealing exploitation, intimidation, and molestation of young talents trying to reach stardom. This led to calls for industry reform.

Mohbad’s death allowed many artists to share their negative experiences. Some survived, but many weren’t as fortunate.


I see parallels between the cases of Ojazzy and Kcee Limpopo and the situation with Mohbad and Naira Marley. The only difference is that there haven’t been casualties yet that would provoke us to demand justice for the deceased when we couldn’t support them while they were alive.

Ojazzy may have his flaws, but the blame lies with Kcee Limpopo, who continues to emotionally and mentally torment the young boy. It’s pointless to downplay Kcee Limpopo’s cruelty just because Ojazzy is still alive and hasn’t succumbed to depression.


Before meeting Kcee Limpopo, Ojazzy had no prior knowledge of what he was getting into. Naivety and desperation to develop his talent made him an easy target for exploitation. Ojazzy believed Kcee Limpopo would help him achieve his dreams, only to be taken advantage of and later abandoned in poverty.

Ojazzy appealed for help, but Kcee Limpopo refused, leading to Ojazzy’s public statements against him only recently.


It’s unfair for those who cannot accept such treatment to criticize Ojazzy for speaking out about his pain, exploitation, betrayal, and fraud at the hands of Kcee Limpopo and 5star Music. Kcee Limpopo’s actions are unjust, and Ojazzy’s courage in revealing them should be acknowledged.

Kcee Limpopo seems to have moved on, understanding that not many will confront him. Instead, the vulnerable Ojazzy is reprimanded and reminded of his disadvantages.

On Ojazzy vs Kcee

I have been waiting for Kcee Limpopo to disclose the terms agreed upon with Ojazzy before they collaborated in the studio, but he hasn’t done so. Ojazzy isn’t even signed to the 5star Music label or any affiliate. Kcee Limpopo met a struggling Ojazzy, took him to his mansion to intimidate him, used him to create music, and discarded him when he was no longer needed. Unfortunately for Kcee Limpopo, Ojazzy had the strength to call him out for his actions.

It’s disheartening that some people who criticize Senator Ike Ekweremmdu’s actions in the UK and his alleged attempt to steal an organ from a minor are now applauding Kcee Limpopo for similar actions against Ojazzy.

Regardless of any justifications, Kcee Limpopo’s actions against Ojazzy cannot be excused.


The mindset of always taking the side of the privileged in society against the weak and vulnerable will not promote progress or development. Instead, it will create more monsters who believe that cheating and exploiting others is being smart. Kcee Limpopo is a predator and an exploiter who must be exposed for who he truly is.


© Uloka Chibuike.

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