Nigeria and the United Kingdom have announced a major new cultural and creative economy partnership, anchored by the launch of the UK–Nigeria Season of Culture 2028, marking a significant step in deepening bilateral collaboration and unlocking global opportunities for creatives in both countries.
The partnership, advanced during the State Visit of President Bola Ahmed Tinubu GCFR, reflects a shared ambition to position the creative industries as a key driver of economic growth, job creation, and international cultural exchange.
At the centre of the collaboration is the UK–Nigeria Season of Culture 2028, a flagship initiative that will showcase the best of both nations across music, film, fashion, art, and education, while building long-term institutional partnerships and expanding access to global markets.
The programme will be preceded by two years of joint development, leading to a coordinated series of events, exchanges, and commercial opportunities across both countries.
Ministerial Statement
Nigeria’s Honourable Minister of Art, Culture, Tourism and the Creative Economy, Barrister Hannatu Musa Musawa, said:
“This partnership reflects our clear strategic intent to position Nigeria’s creative and cultural industries as a central pillar of economic growth under the Renewed Hope Agenda of President Bola Ahmed Tinubu. Through these initiatives, we are building the institutional frameworks, global linkages, and commercial pathways required to empower our creatives, attract investment, and expand Nigeria’s cultural footprint on the world stage. We are not only celebrating our culture—we are productising it, scaling it, and unlocking its full economic value for Nigeria and our global partners.”
Delivery and Implementation
The National Council for Arts and Culture (NCAC) will serve as the delivery agency for Nigeria, working in close collaboration with the British Council as the UK’s key delivery partner for the Season of Culture.
Obi Asika, Director-General of NCAC and Co-Chair of the UK–Nigeria Creative Economy Working Group, said:
”This programme is fully aligned with our mission to build a globally competitive Nigerian creative economy—connecting talent to markets, culture to commerce, and creativity to enterprise. As the Ministry’s delivery agency, NCAC is focused on translating this partnership into real opportunities for creators and entrepreneurs. Working closely with the British Council and our UK partners and senior private sector leaders we are looking to move immediately from framework to execution, driving impact locally and globally.”
British Council Statement
Donna McGowan, Country Director, British Council Nigeria, said:
“Seasons are a proven mechanism to drive growth through the creative industries, and to foster long-term and mutually beneficial collaboration. The British Council is proud to partner with the Ministry of Art, Culture, Tourism and Creative Economy on this landmark collaboration between the UK and Nigeria. Through the Season of Culture, we will strengthen creative and educational ties, support talent development, and enable new pathways for collaboration, innovation, and growth. This partnership reflects our long-standing commitment to building meaningful cultural connections that deliver lasting economic and social impact in both countries.”
UK Government Perspective
UK Arts Minister Ian Murray said:
“Culture has an amazing power to bring people together. When we work together, we open our eyes to new creative possibilities and build opportunities to grow our creative sectors.”
“With the UK being home to the largest Nigerian diaspora in Europe, we’re perfectly placed to make the most of these opportunities. So many of our brightest stars have shared heritage across Nigeria and Britain, and I look forward to these cultural bonds only growing stronger through the joint Season of Culture in 2028.”
Florence Eshalomi MP, UK Trade Envoy to Nigeria and Co-Chair of the UK–Nigeria Creative Economy Working Group, said:
“As a proud British Nigerian, I’ve experienced first-hand the uniqueness of our cultures, creativity and strong people-to-people links.
This new partnership will bring real benefits to our creative sectors, by unlocking investment, supporting talent development and boosting employment opportunities for so many people”
A Strategic Creative Economy Partnership
The collaboration aligns with Nigeria’s broader economic strategy to diversify through high-growth sectors, with the creative economy increasingly recognised as a major contributor to GDP, employment, and global influence.
With Nigeria’s global cultural impact spanning music, film, art, literature, fashion, digital content and more, and the UK’s established leadership in creative industries, the partnership is expected to unlock new investment flows, co-production opportunities, and global distribution pathways.
Every music era has that one name that feels tethered to it, an artist whose breakout moment has turned into a timestamp for the entire industry. One minute they’re recording in a tiny studio bedroom or convincing people to give their music a listen: the next, their jam is a smash hit and their face is everywhere.
This list tracks those moments from 2000 to 2025, mapping the stars who broke out. We measured these artists by their cultural currency, commercial impact, innovation, longevity and relevance. Some arrived with street anthems, others with bangers that were everywhere, but all of them left a permanent mark on Nigerian music.
In 2000, Sound Sultan turned arithmetic into a brilliant national critique. “Mathematics” (AKA “Jagbajantis”) examines the economic, political and social equations that most politicians couldn’t even understand, let alone fix. This is conscious music that isn’t a boring lecture. Sound Sultan gained prominence, founded his own label, Naija Ninja, released nine albums, made hits, mentored a generation of creatives, and simultaneously became a pillar of the Nigerian basketball community. Even after his death in 2021, his legacy as a role model and a blueprint for clean yet biting social commentary remains the gold standard.
When Eedris Abdulkareem left The Remedies, he did so with a point to prove. 2001’s “Mr Lecturer” took over the airwaves and was a satirical song about sexual harassment and academic extortion in Nigerian universities. Since that aggressive entrance, Eedris has evolved from the industry’s resident “troublemaker” to a veteran.
His success and contributions are marked by a fearless transition into social commentary with “Jaga Jaga” and his 2004 stand for the dignity of local artists — a move that paved the way for the respect today’s superstars enjoy. Eedris Abdulkareem is the OG who taught the industry how to fight for its worth.
In 2002, Styl-Plus reset the standard for Nigerian R&B music. They released “Olufunmi”, an emotional wrecking ball that flattened the competition and was everywhere like a club banger. In relationships, parties, events, more than two decades later, this song heats the dancefloor when it drops. In the Nigerian contemporary scene, Styl-Plus has become a legend of the craft, influencing some of the best vocalists out right now, such as Wande Coal, Chike, and Fireboy DML.
Before the family drama, Peter and Paul were busy teaching an entire generation how to breakdance and sing. They brought a level of spectacle and music-video quality the industry hadn’t seen before (and hasn’t seen since tbh) with “Senorita”, their breakout hit. Armed with Michael Jackson’s choreography and smooth spin-offs of R&B classics, they announced their era of superstar duo.
Even though the group has broken up and the twins now have solo careers as Mr P and Rudeboy, they remain African music legends.
“Nfana Ibaga” is 2Baba’s breakout song. This was 2004, when he still went by 2Face and had just freshly joined Kennis Music after gaining a good amount of fame from his boy band days with Plantshun Boiz. The same year, he put out “African Queen”, the track that got him international attention. 2Baba has become the “Father of Afropop.” With dozens of awards, including the first MTV Europe Best African Act, he moved from pop idol to statesman.
Timaya rowed in from the creeks with a story that demanded a witness. In “Dem Mama”, he turns a national tragedy into a street anthem. He gives an account of the Odi massacre, with a gravelly, dancehall-inspired tune. Since that classic debut, his career has been a ride of reinvention and longevity. From the record-breaking “Bum Bum” remix with Sean Paul to the viral “I Can’t Kill Myself,” his longevity is rare in an industry that hardly favours veterans. He stands as a multi-generational icon who mentored giants like Burna Boy, Patoranking and Skales.
While the rest of the industry was busy cranking up the volume in 2006, Asa broke out to the mainstream with a guitar,soulful piano chords, and melodies that stopped the nation in its tracks. “Eye Adaba” in Yoruba translates to “Dove.” Throughout the song, Asa uses the dove as a central metaphor for a new, pure beginning. It’s essentially a morning prayer or a meditation, a moment of gratitude for witnessing a new day.
Asa conquered the world on her own terms, becoming a permanent fixture on Parisian stages and the international festival circuit. From the soulfulness of her debut to the smooth, experimental music of her V album, she has maintained a career that prioritises craft. An icon!
In 2007, 9ice had already released his debut album, titled Certificate, which houses his breakout hit, “Little Money.” 9ice came as indigenous as one can be and made singing in Yoruba the coolest thing a young person could do that year. “Little Money”, a song about sharing with friends after success, became a cultural reset that mixes traditional idioms with street-hop.
From the trenches to the highbrow areas, he took his roots everywhere. After his breakout, 9ice scooped up a MOBO Award and multiple Headies, briefly dipping into politics before returning to his craft. His legacy is the indigenous sound which influenced an entire generation of singers.
Before M.I, Nigerian rap was often seen as too deep for the clubs or too foreign for the streets. Then “Crowd Mentality” dropped, and the game changed overnight. M.I snuck elite lyricism into the hearts of people, then he solidified his place with “Safe.”
After a legendary run at Chocolate City, where he was a signee, then label president and mentor to a generation of stars, he transitioned into a mogul and an OG who still knows how to shut down a cypher. From the Talk About It era to his most recent avant-garde projects, such as Yxng Dnzxl and The Guy, his growth has been a point of reference in evolution.
Dagrin’s era was short but impactful. He took indigenous rap from a niché hobby and turned it into the heartbeat of the streets. “Pon Pon Pon”, produced by Sossick, is a visceral documentary of the Lagos hustle. Dagrin died a legend, but he lived long enough to put indigenous rap on the map. His posthumous impact is his greatest achievement. He birthed an entire subsector of the music industry that now dominates the airwaves. He remains the blueprint for street credibility.
“Holla At Your Boy” introduced Wizkid as a teenager. The song is a perfect teen-pop jam that rolled off the lips of every young Nigerian at the time. With his cool coming-of-age fashion of snapbacks, skinny jeans, backpacks, G-Shock wristwatches and a confident attitude, he changed the trajectory of Nigerian pop music forever.
Wizkid became the blueprint for every new cat that followed. He became a leading voice of Nigerian youth culture, and everything — from international features to sold-out stadium shows — has followed ever since.
Davido came in with an energy that was impossible to ignore. In his breakout song “Back When”, which features Naeto C, one of the hottest rappers at the time, Davido makes bold statements of his arrival. In the usual fashion of grass-to-grace stories, he reminds us of a time when he didn’t have the money in the bank, when he didn’t have a ride and didn’t have the finest women on his speed dial — but all that’s all in the past. He’s a baller now. Which was all a lie by the way given who his father is but that’s another story for another day.
The breakout hit expanded his territory, leading to a bigger hit, “Dami Duro.” Since then, Davido has stayed consistent and maintained a work ethic that silenced everybody’s ”rich kid” stereotype. With global hits like “Fall”, a World Cup performance, and a couple of Grammy nominations in the bag, he has risen to become one of the most successful Nigerian pop stars.
Burna Boy was the guy with a hushed and melodic flow that sounded like a blend of Fela and Sizzla. “Like to Party” was the anthem of 2012, a laid-back and distinctly different from the high-tempo music of that period. His rise to African Giant status has been impressive. After a few years of industry friction, he rebranded and went on a historic run, winning a Grammy for Twice as Tall and becoming the first African artist to sell out multiple stadiums worldwide. He’s now a global artist and has joined the greats.
In 2013, Sean Tizzle’s infectious hook of “Sho Lee” held the streets, radio, clubs and parties in a chokehold. After the success of this song, he went on to release his debut album, The Journey, which produced hits like “Perfect Gentleman” and “Loke Loke,” cementing his status as a hitmaker.
Though his chart dominance has cooled, Sean Tizzle’s impact remains in his classic debut album. He remains a cult favourite, with fans constantly revisiting The Journey as one of the best-produced albums of the decade.
It has always been music for Yemi Alade. A close look at her journey reveals that she won the Peak Talent Show in 2009. That win exposed her talent to Effyzzie Music, the record label she’s been with since her breakout in 2014. That was the same year she looked for and found “Johnny” along with a career that has now spanned the entire continent. “Johnny” is a comedic, relatable story that broke language barriers and propelled her to be the biggest female export to the rest of Africa.
Her growth has been defined by a pan-African brand and dominance. With over a billion views on YouTube and multiple “Best Female” awards across the continent, she has become a UN Goodwill Ambassador and a global touring force.
Before Kizz Daniel’s second album, “No Bad Song”, he had a “no bad song” policy and actually kept to it. “Woju” introduced Kizz Daniel as a reliable hitmaker when he was signed to G-Worldwide Entertainment and formerly went by Kiss Daniel. Since the success of the song, he has mastered global hits and become the king of viral challenges, from “Buga” to “Cough” and “Twe Twe.” From toddlers to grandmas, he makes music everyone can dance to.
Kizz Daniel is arguably the most consistent hitmaker of the last decade with an unmatched ear for hooks.
Mr Eazi brought Banku Music and a straw hat in 2016, and suddenly, we were all dancing at a slower tempo. “Skin Tight” is a minimalist sound that became the loudest that year. Its success came with fame and more hit songs that worked as the platform to launch emPawa Africa, a company that funds the next generation of African stars. Today, Mr Eazi is more of a tech and music mogul than just a singer.
In my opinion, the pop scene was forever changed when Niniola released “Maradona.” It’s a hit and a manifesto of sexual liberation, delivered in her native Yoruba — an uncommon move for women in the industry at the time. She carved out a unique niche by keeping dance floors packed with raw, sensually charged lyrics. Though her debut album, This is Me, teases a wider range of sounds, Niniola clearly knows her audience. By doubling down on the Afrohouse vibe, she has secured her spot as a pioneer for the sound in Nigeria.
Teni came into the game like a breath of fresh air: no heels, no flamboyant style, just pure talent. And her ascent in the music industry is an applaudable model in balancing that with personality. It’s easy to focus on her comedic flair, but beneath the playful personality and lyrics lies a brilliant vocalist whose performances on “Fargin” are nothing short of stellar.
She has since grown into a household name with successful international tours and two full-length albums. Following the androgynous steps of Weird MC, Teni broke the mold for what a female pop star should look like in Nigeria, paving the way for authenticity over aesthetics.
A boy from Benin arrived with a “Dumebi” and a bunch of Indian influences, and the internet didn’t know what hit it. The song was the viral moment that introduced Rema as the first Gen Z superstar to go experimental and global. Rema’s growth culminated in “Calm Down”, which is the biggest African song of all time on the Billboard charts. From billion-stream milestones to winning the first Best Afrobeats VMA, he has successfully moved from a new cat to global leader.
While the world was under lockdown, Omah Lay broke out and haunted our collective isolation. The Port-Harcourt native arrived with the Get Layd EP which has “Damn”, the melodic and moody pandemic jam. Since that breakthrough, Omah has evolved from a lockdown sweetheart into the top voice of vulnerable Afropop.
His growth was solidified by the honesty of his debut album, Boy Alone, and the global wave of “Soso.” Omah Lay has turned personal pain into a universal currency and continues to prove that emotional transparency is its own kind of power.
Mavin Records found us Ayra Starr, a (then) teenage superstar with world-class potential. She arrived and immediately told us she wasn’t here to play. She is a fashion icon with the vocals to match. “Away” is a breakup anthem that serves as a form of liberation. Ayra has since dominated the charts with “Rush” and “Sability,” becoming one of the most celebrated Nigerian female artists internationally. She has toured the world and collaborated with artists such as Chris Brown and Coco Jones. There’s no doubt that her ‘Sabi Girl’ brand is a premium global commodity.
Asake had his first big moment with “Mr Money” in 2020. It faded away and he didn’t have another until two years later, when he released “Omo Ope” featuring Olamide, his former label boss. The song turned the industry upside down and fuses Afropop, Fuji, Amapiano and choral vocals into a national hit. Asake’s growth saw him sell out the O2 Arena in record time and release back-to-back classic albums. It’s 2026, and he has become the bridge between the local street sound and global audiences.
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Shallipopi launched “Elon Musk” from the heart of Benin and arrived with a brand of street-hop that forced the entire country to learn Pluto slang just to keep up with the conversation. Three years after his breakout hit, he has established that his “Plutomania” orbit is permanent. He successfully transitioned from a viral spark to a label boss (launched Plutomania Records) and an artist with a nose for lambas.
With a string of chart-topping projects like “Obapluto” and “ASAP”, and a global touring schedule that has seen him shut down stages from London to Lagos, he has moved beyond being a “vibe guy” to become an architect of the new street-hop culture.
FOLA arrived with a sound that can only be described as soul meeting street. His style specialises in late-night yearning. “Alone” is his breakout hit, and it’s the intimate feeling it captures that turned him into the artist listeners now go to for romantic yearnings. Since “Alone” and its remix with BNXN, FOLA has successfully evolved from a TikTok sensation to a mainstay of the Afropop-R&B fusion. His growth has been marked by a widely-acclaimed debut album, catharsis, and a series of high-profile collaborations and cosigns (Wizkid, Kizz Daniel, Bella Shmurda, Funke Akindele, etc.).
Mavo is the current face of Nigerian music reset. He stormed into the industry and forced us to learn new slang. “Escaladizzy”, his viral smash hit, defined 2025 with its irresistible street lamba. The shelf life of the hit has been extended by a part two featuring artists such as Zlatan Ibile, Shallipopi, and Ayra Starr. In less than a year since his breakout moment, Mavo has collaborated with heavy hitters like Wizkid, DJ Maphorisa, DJ Tunes, CKay, etc. He’s currently one of the most-streamed artists of the first quarter of 2026.
On April 5 and April 6, Easter Sunday and Easter Monday, Jameson Yard opens its doors for an Open House experience, inviting creators, culture enthusiasts, and communities into a two-day experience anchored by Sip, Cut, Bants & Tattoos.
Set in Lagos, the gathering brings together music, cocktails, grooming, tattoos, games, and conversation offering guests an immersive look into the creative energy of the Yard through interactive moments that celebrate culture, creativity, and community.
Designed as a social and creative hub, the experience reflects what Jameson Yard represents: a space where creators, collaborators, and communities come together to share ideas, create and build meaningful cultural moments.
Originally built as a multi-purpose creative hub in Lagos, Jameson Yard hosts podcasts, content sessions, collaborations, and culture-driven gatherings. While many have engaged with the space through partner and community-led initiatives, Open House this Easter offers a unique opportunity to explore its versatility in a more immersive setting.
Across the two-day event, guests can enjoy a range of experiences, including a Cocktail Face-Off competition, where guests go head-to-head creating Jameson cocktails, alongside a Jameson Black Barrel tasting experience showcasing the depth and character of the whiskey.
Additional highlights include live tattoo sessions; the cuts Experience blending grooming with cultural conversation; and the Bants Experience hosted by Improv Circle, delivering spontaneous comedy and storytelling.
Music will shape the atmosphere throughout, with DJ recording sessions by Blessing Ewona of the Jameson Family, while classic social games such as snooker, Jenga, tic-tac-toe, and card games encourage easy, friendly interaction.
“Jameson has always been about bringing people together through shared experiences and authentic connections. Jameson Yard reflects that spirit, it is a space where creatives, communities, and culture can meet, collaborate, and express themselves freely. Open House this Easter is an opportunity for people to experience the energy of the Yard and see how it can serve as a home for creativity beyond this event,” said Tara Gbadamosi, Brand Activation Manager at Pernod Ricard.
Beyond Easter, Jameson Yard remains open year-round to creators, collectives, and communities looking to record podcasts, host conversations, shoot content, or collaborate. Creators interested in using the space can send booking requests via email or Instagram @jamesonngr.
African Women in Technology (AWIT) hosted the Nigeria edition of its International Women’s Day 2026 Global Series on March 12, 2026, at the Nexford University Community Space, Lagos.
With the theme “Give to Gain: Balancing the Scale,” the event brought together women across technology, business, media, and finance to have honest conversations about access, leadership, and building real influence within Africa’s digital economy.
In her opening remarks, Anie Akpe, Founder of AWIT, set the tone for the day, highlighting the need for women to move beyond contribution and step fully into ownership and decision-making roles.
As media partner, Zikoko amplified key conversations from the event, helping to spotlight the experiences and perspectives of women shaping innovation across sectors.
The programme featured a series of engaging panels and conversations. One of the highlights, “The Future Is Female – AI, Data & Digital Power,” brought together Dr Taiwo Anjorin, Olufunmi Olaosun, and Zusi Inegbeniki, who shared insights on women navigating and leading in emerging technologies.
Another standout moment was the panel on “The Power of Visibility: Media, Innovation & Africa’s Tech Narrative,”featuring Ayeni Oluwatobi Dorcas (MissTechy), Adaudo Anyiam-Osigwe, and Patricia Uyeh, which explored how storytelling and visibility can open doors and shape opportunities for women in tech.
The event also featured conversations on financial independence led by Oluwatosin Olaseinde, and on storytelling and ecosystem visibility by Toluwanimi Onakoya.
The day ended with a powerful discussion featuring Juliet Eze, Tinuade Oguntuyi, and Sara Pinheiro, focusing on how women can step into positions of influence across industries.
Beyond the panels, the event created space for connection, shared experiences, and new possibilities for women building, leading, and navigating the future of work and technology.
About African Women in Technology (AWIT) African Women in Technology (AWIT) is a global nonprofit organisation committed to advancing women’s leadership in technology, innovation, and digital economies.
Olaniyan* (43) believed putting his entire ₦38 million savings into building rental apartments was a guaranteed path to early retirement. Nearly a decade later, a string of nightmare tenants has turned that “smart investment” into his biggest financial regret.
As Told To Boluwatife
In 2017, I thought I had cracked the code to financial security. I was wrong.
I was 34 and naively believed I was on the right path to partial retirement by 40. I’d been extremely disciplined with my finances for years. I didn’t have an expensive lifestyle or spend money without carefully considering each expense.
My wife is also frugal, so it was easy for both of us to plan our expenses and live on the barest minimum. We mostly lived on her income while I saved mine. We had one goal in mind: to save enough to make a big investment that would secure our future.
By mid-2017, I had about ₦30 million saved. To me, there was only one smart thing to do with that kind of money: build a house and rent it out. I figured that in six years, I could afford to take a break from work and live on my rental income.
Although I worked in a federal ministry parastatal, I made most of my money from my farming and mini-exportation side hustles. With steady income from rent, I could step back from juggling multiple things at once and keep my civil service job, which wasn’t as time-consuming.
I already owned land from an earlier investment when my wife and I got married, so we decided to use the entire ₦30 million to build a four-flat house on it.
Looking back now, I didn’t think deeply about it. I didn’t run the numbers, consider maintenance costs, or account for evil tenants. I was part of the school of thought that believed nothing could ever go wrong with investing in real estate.
My entire reasoning was that people would always need somewhere to live. Even if everything else failed, my house would still be there, bringing in passive income.
I finished building the house in a year — I must’ve spent another ₦8 million in unexpected expenses. In 2018, my first set of tenants moved in. I honestly felt like I had arrived.
At first, everything seemed fine. They paid their rent, and I relaxed into the idea that I had made the best decision of my life.
Then, small issues started. One tenant brought in an electrician who did what I can only describe as magic while trying to connect her generator to her flat. When she turned on the generator, it blew some connections in the next tenant’s flat, so I had to redo the wiring.
Another tenant was always fighting with his wife and disturbing the entire compound. Someone else was leaving the pumping machine on, letting water spill out of the tank for hours. Almost every week, a tenant would call me to settle one issue or another.
I handled all this alone because I didn’t have a caretaker. I’d planned to pull in a distant relative to serve that function, but he insisted he’d only do it if he lived in one of the flats. It was an expensive option because it meant I’d have to forfeit rent. I rented the flats for between ₦650k – ₦750k/year. It wasn’t small money at all.
So, I managed the house and tenants myself. It was stressful, but I told myself it came with being a landlord. What I didn’t realise was that this was just the beginning.
Over the next few years, I experienced every type of tenant problem you can imagine. I had people damage the property and refuse to fix it, rent delays and even someone subletting a flat without telling me. Instead of passive income, the house became a full-time headache.
The money wasn’t even impressive. After expenses and repairs, what I earned yearly didn’t make up for the stress or the initial ₦38 million investment. Still, I held on. I kept telling myself it was an asset that would bring long-term benefits.
Then I met Joel*, the tenant who almost got me into real trouble.
Joel moved in around 2021. At first, he seemed responsible. He was married, but his family lived in a different state. Work brought him to the area, so he often stayed alone. His wife and kids only came during some weekends and long holidays. He seemed unproblematic, polite even.
But everything changed when his rent expired. The excuses started.
“I’m working on it.”
“I need more time to gather the money.”
I tried to be understanding because he seemed like a reasonable person.
However, after three months of back-and-forth, I got tired and asked him to move out if he didn’t have the money. That’s when I began to see Joel’s true colours. This man told me to my face that I couldn’t send him out. I needed to serve him a legal six-month quit notice because he was a yearly tenant and couldn’t just leave.
It turned into a whole situation. When persuasion didn’t work, I resorted to threats, but he refused to budge. He insisted he needed a legal notice and an additional six months to “prepare” to leave.
When I eventually got a lawyer involved, Joel started avoiding the house so the lawyer couldn’t serve him the notice. This went on for another month before he eventually received the quit notice.
Even after that, this man refused to pay. My lawyer explained to me that Joel was still supposed to pay me the six months’ rent during the notice period. But of course, he didn’t pay anything.
Six months elapsed, but Joel still didn’t leave. My lawyer suggested taking him to court, but it felt like a complicated process. The court would take weeks, and I’d still spend money. What right did this tenant have to make me go through all of that on top of my own house? I felt cheated and disrespected.
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So, one day, I snapped.
I went to the house with some area boys and forced him out. We removed his belongings from the apartment and threw them outside. To me, it felt justified. He had overstayed, refused to pay, and ignored multiple warnings.
I didn’t think about the legal consequences. A few hours later, Joel returned with police men. The officers said I’d done “unlawful eviction” and destroyed Joel’s property.
I couldn’t believe it. I had spent ₦38 million building that house, and now I was the one in trouble because of it. I spent three nights in jail and paid bail of ₦150k before I was released.
After that, I had to go back to the court I had tried to avoid. Joel claimed I unlawfully evicted him, and it took four more months of court visits and plenty of explanations. I spent close to ₦500k in lawyer fees.
In the end, Joel stopped appearing in court and quietly packed out on his own towards the end of 2023. When I learnt he’d left, I actually did thanksgiving in church. The experience was so traumatic. I still send curses his way whenever I randomly hear or see the name “Joel.”
I honestly regret investing everything in that house. If I had diversified my investments, I could have built something that didn’t depend on managing human behaviour every single day and would have made significantly more money.
It’s not like owning a house is bad; I just did it with the wrong intention. I thought it would bring me easy money and let me stop worrying about needing to work. But almost 10 years later, I’m not even close to retirement.
The house is still there. I’m more careful with tenants these days, and I still make some money from rent. But my mindset has changed. It’ll never be the stress-free investment I’d hoped for. In fact, it’s been the most stressful financial decision of my life. I often wish I could turn back time and make better choices, but I can’t. I only have to look ahead and focus on what else I can do.
The only small positive note is that the house is a legacy I can pass down to my children. I’m grateful for that.
*Names have been changed for the sake of anonymity.
The Naira Life Conference is returning in June 2026! Expect honest conversations and insightful sessions on building wealth, scaling businesses, as well as practical strategies to manage your money. Join the waitlist to be the first to know when tickets start selling.
The Nigerian experience is physical, emotional, and sometimes international. No one knows it better than our features on #TheAbroadLife, a series where we detail and explore Nigerian experiences while living abroad.
Gerry (25) always wanted to get a master’s abroad. But about two years into Tinubu’s regime, he decided the time was now. In this story, he talks about life in Scotland’s Aberdeen, the exciting whims he’s indulged, and his plans for the future.
Where do you currently live, and when did you leave Nigeria?
Currently, I’m in Aberdeen, Scotland. I left Nigeria in January of 2025.
What inspired you to leave Nigeria?
Honestly, for lack of a better word, I just wanted fresh air. I always knew I would get a master’s degree at some point, and with Tinubu in power now, I felt it was time to initiate my escape from the country. I decided to go abroad for my master’s, and to leverage it to move to whichever country my heart deems fit after I’m done.
Are you done with your master’s now?
Technically, I’m done. I’m in the process of turning in my dissertation. My graduation is just a few weeks away.
Congratulations. Scotland isn’t a popular destination for Nigerians I’ve interviewed. Why did you choose it?
I’m surprised to hear that. Being here, you see the opposite—Scotland is actually a prime destination for Nigerians. There are a lot of Nigerians here. In fact, sometimes, I only interact with Nigerians for months on end.
I grew up in Port Harcourt, then spent my last two to three years in Nigeria in Lagos. And I preferred Port Harcourt, which is significantly quieter than Lagos. So I knew I needed a city that was just as quiet, hence why I chose Aberdeen.
Is Port Harcourt your favourite Nigerian city?
It’s actually Akure. I’ve been around a lot of cities in Southern Nigeria, and Akure just stands out as a very fun place. I’d describe it as a perfect retirement city. Most of the businesses there cater for retirees and make people feel as relaxed as possible.
But the thing with people in their retirement era is that there are a lot of big birthdays and burial ceremonies. So if you’re looking for a type of fun that is very Nigerian but not Lagos-centric, Akure is a good place.
That’s very interesting. But how could you tell Aberdeen would be your type of city before you arrived?
I have a couple of relatives and very close family friends who have been here for over ten years. That was where my insight came from.
It must have been great having that support when you arrived. But what were you up to in Nigeria before you left?
I worked in marketing. My master’s is also in marketing. I came to Lagos for my National Youth Service Corps (NYSC) in 2022. After that, I got a job at a top marketing agency. I spent a little over a year there and then moved to a health tech startup in an executive position. At the same time, I had side contracts as well.
I lived what I’d describe as a very unbothered, soft life in Lagos. I wasn’t paying rent for the years I spent there, so all my income went into my personal needs. I was very independent.
Life in Lagos, as hectic as it was, was a very good career step. I knew I had to be there because that’s where all the big media and marketing work in Nigeria is done. So between 2022 and 2024, my life was basically all about work.
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What was the experience like when you first arrived in Scotland?
When I landed in Aberdeen, it hit me, and I realised I may have made a big mistake. Aberdeen is really far up north on the map. It is a very cold city. So I’d arrived in London, and it wasn’t that cold, and there was no snow. Then I got on the plane to Aberdeen and slept throughout the 45-minute flight. I woke up to whiteness. Every building, the ground, everything was white with snow.
Climate-wise, they are like close cousins to Scandinavian countries. It’s similar to the weather you’d have in Norway. The mistake I’d made was that I was only wearing a sweatshirt. The first week was not a fun experience. I had to battle a horrible cold, and my body was struggling to adapt. But now I can walk out in the snow wearing just shorts.
How have you found social life in Aberdeen?
It’s not bad at all. You also don’t need a lot of money to relax here. Aberdeen is the sort of city where you can meet literally anybody if you’re the social type. There is a Nigerian club here called Club Lagos. There are enough Nigerian events that mirror the experience from back home, just in slightly higher quality. On a scale of one to ten, I’ll give the social life in Aberdeen a solid nine.
What activities do you do to unwind in Aberdeen?
I like to go running and hiking on the hills here. There are lots of hills and mountains in Scotland. I’ve been to the lake where the mythical Loch Ness monster supposedly is. It’s a hilly valley with a mountain range. It was weird realising there are mountains of over 2,000 feet in Scotland. I climbed one of the shorter ones, and it was a really fun hike.
Then there is the food. I think that is actually my go-to fun activity. In the last year, I think I’ve tried practically 80 per cent of the restaurants here. I’m always dragging my friends to the new restaurants I want to try. They already know they don’t have a choice; once I decide we are going to a restaurant on the weekend, we are going.
What are you eating at these restaurants?
I do not like English or Scottish food. I don’t fancy it at all. I’ll only eat it if my back is against the wall. They know, too, that their food is horrible, so they’re very welcoming of foreign food. There are so many Indian, Southeast Asian, Thai, Vietnamese, and Italian restaurants here. I’ve even been to a Cambodian restaurant in Glasgow.
What is your favourite ethnic food?
Still Nigerian food. After that, I’ll say Asian fast food.
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Have you been back to Nigeria since you left?
No, and I don’t intend to if it’s just for a visit. It’s just too much work. I’ll have to take three flights to get to my father’s house in Port Harcourt. I don’t have it in me to take three flights right now. If it were possible to take just one flight, I would go easily.
I am open to moving back to Nigeria for work on a permanent basis. But not going back for fun because I don’t think there’s any fun to be had in Nigeria.
What are your plans for the future?
I’m currently in the process of looking at what the short term looks like, but I’m horrible at short-term planning. Long term, if the UK is still an option in five years, the goal would be to get Indefinite Leave to Remain (ILR) or a Global Talent visa. I’d use that as a bedrock to explore other countries, particularly Canada, for work opportunities.
What is your support system like in Aberdeen?
I have a very close-knit personal network that is surprisingly very female-driven. Most of my male friends here have moved to different cities. I also have the relatives and family friends I mentioned who have been here for decades.
How have you met new people?
I have met a bunch. A decent chunk of Nigerians live in my building; that was the first entry point. My university is also very African-centred, so I met Nigerians and Ghanaians there. As much as I’m not a social person, people are drawn to my personality, so I actually meet a lot of people. Mostly it’s through church, school, and work.
What culture shocks have you experienced so far?
“Culture shock” isn’t the right word for me because I was already conversant with Western society before leaving Nigeria. Nothing felt like a shock. But one thing that still surprises me is how everyone keeps in line while waiting for the bus. It might not be an orderly single file, but everyone knows who got to the bus stop first, and they signal to each other in that order when boarding.
Something I had to get used to quickly was that Aberdeen is a very cashless city. Everyone uses a card or Apple Pay. I arrived holding about £1,000 in £50 notes. That’s the highest denomination here, and the notes are rare to find because if you need to pay for something that much, people expect you to just make a transfer.
Have you experienced racism in Scotland?
I can’t say I have directly experienced it, but in certain situations, you feel it. For example, while working at a retail store, I noticed that all the higher-level staff were white, specifically Scottish whites. Systemically, you notice it takes a while to gain “trust” in corporate settings when you’re an immigrant.
But I think the closest thing to racism you’ll see from a Scot is when they’re around English people. Scottish people generally don’t like English people; you can see the tension most when English people come to Aberdeen for a holiday in the summer.
What is your favourite and least favourite thing about Aberdeen?
My favourite thing is winter. My least favourite thing is also winter. They are great to look at, but horrible to experience.
What has been your worst experience in Scotland so far?
I haven’t really had a horrible or bad experience. The worst I can think of is my phone going off while I’m outside. But even then, I can just walk into any electrical or repair store and get it charged. If you are good at quick thinking, you won’t have many problems here. People are generally willing to help or guide you.
What has been your best experience?
There are quite a lot. I spent a weekend with a friend, seeing every major landmark in Aberdeen. We both had cameras and played a “colour game” where we looked for things of a particular colour in every region of the city and took pictures. It was a great, personalised city tour.
A runner-up would be going to Glasgow on a whim, then to Edinburgh for a concert, staying at someone’s house for dinner, and not returning home until Monday morning. That was a whole weekend across two cities in three nights.
On a scale of one to ten, how happy are you in Scotland?
A solid seven out of ten. It’ll be complete when I get a proper job.
Do you want to share your Abroad Life story? Please reach out to me here. For new episodes of Abroad Life, check in every Friday at 12 PM (WAT).
PUBG MOBILE, one of the world’s most popular mobile games, has launched its highly anticipated Version 4.3 Update, marking its biggest anniversary celebration yet. Running from March 12 to May 10, 2026, the update introduces new gameplay experiences, global collaborations, and exclusive incentives designed to celebrate eight years of community, competition, and evolution.
At the heart of the update is the Evolving Universe themed mode, a cosmic transformation of the battlegrounds across Erangel, Livik, and Miramar, featuring revamped urban areas, spacetime distortions, dynamic rail mechanics, and new racing gameplay. Players can also take on parachute challenges for rewards, while five new passive skill specialisations and an Energy Rank system (Rank C, B, A or S) unlock Temporal Vaults with themed loot, adding depth and personalization to gameplay.
To mark its 8th Anniversary, PUBG MOBILE introduces the brand concept, “For Every #1,” celebrating players’ individual journeys and milestones. From March 12, players gain exclusive early access to “LEAN (PUBG MOBILE 2026 Theme Song)” by OneRepublic. The update also delivers a range of time-bound rewards, including the RPA18 Royale Pass (March 15 – May 15) available at a discounted 60 UC (down from 720 UC), with total rewards worth up to 80,000 UC.
Anniversary events roll out across key dates, starting with the Mythic Forge Anniversary Event on March 12, offering up to 50% discounts, followed by the Special Collaboration Set on March 13 and themed frames and avatars from March 20. The celebration peaks on March 27, when players can log in for exclusive rewards and a special anniversary show. Players can also collect card sets to unlock milestone items, including a free upgradable Splendid Assault firearm finish and exclusive Holo Cards.
Beyond the game, PUBG MOBILE is hosting large-scale global events. On March 27, the flagship 8th Anniversary Carnival will take place at the Grand Pyramid of Giza, Egypt, featuring music, esports, and live performances. The same day, Türkiye will host a dedicated gala with offline viewing parties across major cities and large-scale city activations. From March 28–29, the “8EYOND THE CIRCLE” Festival in Surabaya, Indonesia will showcase exhibitions, gameplay zones, and a record-attempt drone show.
Version 4.3 also brings major collaborations, including MrBeast, launching March 12, with an exclusive hoodie, themed vaults, and in-game access to his latest video. Meanwhile, Jujutsu Kaisen returns from March 13 to April 12, featuring fan-favourite characters like Yuji Itadori and Satoru Gojo, alongside new additions such as Ryomen Sukuna and Suguru Geto, with themed items and rewards unlockable through gameplay.
Additional updates span core modes, including World of Wonder’s $10 million creator program and the WOW DASH competition with a $100,000 prize pool starting March 19, alongside upgrades to Classic Mode, Metro Royale: Chapter 31, and Home Mode.
As the celebrations draw to a close, PUBG MOBILE will spotlight competitive gaming in Africa with the PMGO Africa Finals on May 9–10, 2026, where top teams will compete for a $22,000 prize pool and a chance to make their mark on the global stage.
Available until May 10, 2026, the Version 4.3 Update stands as one of PUBG MOBILE’s most expansive releases yet, blending innovation, entertainment, and community celebration into a single experience. Download the game and play for free on the App Store and Google Play Store.
GridLocked is a daily pop culture guessing game built for Nigerians. Every weekday by 9am, you’ll get six clues, sixty seconds, and an answer only a Nigerian would know.
Today’s GridLocked is food.
How many clues do you need to get it right? 👀
Share your result when done, but don’t spoil the answer for others. (Missed yesterday’s GridLocked? Play it here.)
27 March 2026
Guess The Food01:00
Title
Guesses: 0
00:00
How To Play
The Goal: Guess the answer for the day before time runs out. (The answer could be a person, place, song, movie, or even slang.)
The Lock: You cannot type a guess until you have revealed at least one tile.
The Reveal: Tap any tile to reveal a clue. Every clue on the grid describes the answer for the day.
The Clock: You have 60 seconds to guess right. The timer starts the moment you flip your first tile. (You get multiple guesses.)
The Score: ⬜ (White) = A tile you flipped 🟪 (Purple) = A tile you kept hidden.
Best Result = ⬜🟪🟪🟪🟪🟪 | Guesses: 1 (Only needed one clue and one guess to get it right)
Come back every weekday by 9am for a new grid or subscribe to Z Daily, Zikoko’s daily newsletter, to get new GridLocked puzzles, real Nigerian stories and other fun content in your inbox.
How to Play GridLocked
The Goal: Guess the answer for the day before time runs out. (The answer could be a Nigerian person, place, song, movie, or even slang.)
The Lock: You cannot type a guess until you have revealed at least one tile (clue).
The Reveal: Tap any tile to reveal a clue. Every clue describes the answer for the day. The fewer tiles you flip, the better.
The Clock: You have 60 seconds to guess right. The timer starts the moment you flip your first tile. (You get multiple guesses.)
The GridLocked Squares: What Do They Mean?
When the game ends, you see your guess count, total time spent, and the number of tiles flipped. The tiles are shown as white and purple squares.
⬜ (White) = A tile you flipped
🟪 (Purple) = A tile you left closed
The fewer white tiles you have, the better your result.
Best Result = ⬜🟪🟪🟪🟪🟪 | Guesses: 1 (Only needed oneclue and oneguess to get it right)
Nigerian music didn’t conquer the globe by accident. Behind most of the billion-stream records, the Grammy nods and the sold-out international stadiums, there is the hustle. Behind every generational superstar, from 2Baba and Wizkid to Rema and Asake, stand visionary record labels that spotted their talent and showcased it to the world.
These labels served as the incubators of the Nigerian music industry. From the pioneering groundwork of Kennis Music in the late 90s to the global conglomerate dominance of Mavin Records today, here is a look at the 10 most important Nigerian record labels and the stars they have given us.
10. Davido Music Worldwide (DMW)
Established: 2016
Founder: David “Davido” Adeleke
DMW was founded shortly after Davido after his departure from his family’s HKN Music. The record label quickly became the dominant crew of the late 2010s. When it isn’t cooking music, it’s serving lifestyle. They popularised the “30BG” (30 Billion Gang) catchphrase, which has since become a staple slang in Nigerian pop culture. Mayorkun’s fast rise from a cover singer to the “Mayor of Lagos” remains one of the label’s biggest crowning achievements.
Stars it gave us: Mayorkun, Dremo, Peruzzi.
9. Capital Hill Music / The Goretti Company
Established: Circa 2010
Founders: Clarence Peters (Capital Hill) alongside iLLBliss (The Goretti Company)
This powerhouse label was a joint venture between ace music video director Clarence Peters’ Capital Hill and rapper iLLBliss’s management firm, The Goretti Company. They struck gold by pairing musical talent with great visual storytelling. They gave us Chidinma (Project Fame Season 3 winner) and provided the launchpad for Phyno, who’s now an elder statesman of Igbo rap and Nigerian Hip-Hop.
Capitol Hill unarguably elevated the visual aesthetics of Nigerian music. The presence of Clarence Peters in-house always gave their artists dope, TV-ready music videos.
Founded in 1991 by Obi Asika, Storm Records began less like a traditional label and more like a movement, rooted in DJ culture, radio, and event promotion before morphing into a fully structured music company. Its earliest defining act, Junior & Pretty, helped lay the groundwork for what would later be recognised as Afrobeats, long before the term even existed. By the late ’90s, Storm had evolved into a proper label (later Storm 360) and became one of the most influential forces of the 2000s. It housed a wildly diverse roster including Sasha P, Ikechukwu, General Pype, Naeto C, and Darey Art Alade.
Stars it gave us: Sasha P, Darey Art Alade, Ikechukwu.
7. Empire Mates Entertainment (E.M.E)
Established: 2002 (Relocated to Lagos in 2008)
Founders: Banky W and Tunde Demuren
Banky W returned from the US to become the king of Lagos parties and modern R&B. He built an empire alongside Tunde Demuren. E.M.E gave us the Empire Mates State of Mind compilation album, and stellar artist-songwriters like Shaydee, Skales and Niyola. However, their greatest success story is signing Wizkid and releasing his debut album, Superstar (2011). His success contributed to Afrobeats’ breakout to the global industry.
Stars it gave us: Wizkid, Skales, DJ Xclusive.
6. Coded Tunes
Established: Early 2000s
Founder: Olamide “ID Cabasa” Ogunade
Coded Tunes made music initially out of a studio in Akoka, Lagos, with the legendary producer ID Cabasa at its helm. The record label became a creative sanctuary for the streets. Coded Tunes was less of a corporate label and more of an incubator. It birthed 9ice’s early albums and the monumental Gongo Aso. It also introduced Olamide to the world with the hit “Eni Duro.” Coded Tunes is largely responsible for commercialising Yoruba indigenous rap and pop.
Founders: Michael Collins “Don Jazzy” Ajereh and Oladapo “D’Banj” Oyebanjo
With Don Jazzy’s fantastic, heavy-bass production, D’Banj’s electric charisma, and a roster of artists like D’Prince, Mo’Hits WAS the industry for about five years. With Wande Coal, Dr SID, and Kayswitch, they released back-to-back hits such as “Pere”, “Why Me”, and “Over the Moon.” Their compilation album Curriculum Vitae (2007) and Wande Coal’s classic Mushin 2 Mo’Hits (2009) are considered sacred in Afrobeats.
Mo’Hits secured the first major international crossover for modern Afrobeats when D’Banj signed with Kanye West’s G.O.O.D. Music and released the global smash “Oliver Twist.” Even though the label had a sudden and highly publicised breakup in 2012, it’s still greatly revered.
Stars it gave us: Wande Coal, D’Prince, Dr SID.
4. YBNL Nation
Established: 2012
Founder: Olamide Adedeji
What started as Olamide’s independent imprint to quickly release his own music morphed into a star-making factory. YBNL, also known as Yahoo Boy No Laptop, became the voice of the street, capturing its pulse and making it into nationwide hits. From Lil Kesh’s “Shoki” craze to Fireboy DML’s Billboard-charting “Peru” (featuring Ed Sheeran) and Asake’s global run, YBNL’s trajectory remains one of the greatest the industry has seen.
Stars it gave us: Lil Kesh, Adekunle Gold, Fireboy DML, Asake.
3. Chocolate City Music
Established: 2005
Founders: Audu Maikori, Paul Okeugo and Yahaya Maikori
Chocolate City Music changed the face of African Hip-Hop. When M.I Abaga released the albums, Talk About It and MI 2: The Movie, rap’s commercial value went up in Nigeria. Ice Prince’s “Oleku” became one of the most remixed African songs in history. Years later, they proved it again with Blaqbonez, and their pop sensibilities with their former in-house producer, CKay, who released “Love Nwantiti,” a worldwide hit.
Stars it gave us: M.I Abaga, Jesse Jagz, Ice Prince, CKay, Blaqbonez.
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2. Kennis Music
Established: 1998
Founders: Kenny “Keke” Ogungbe and Dayo “D1” Adeneye
Before the internet, streaming platforms and TikTok discoveries, there was Kennis Music. They picked up the pieces of the late 90s music scene and launched the modern era. Their masterstroke was signing The Remedies (which consisted of Eedris Abdulkareem, Eddy Montana and Tony Tetuila), and then 2Face Idibia after the Plantashun Boiz split and releasing Face 2 Face, his 2004 debut album that has “African Queen.”
Kennis Music contributed to the infrastructure for marketing Nigerian music. They owned media companies and used their popular TV and radio shows, such as Prime Time Jamz, as a brilliant marketing vehicle to broadcast their artists into millions of homes every week. Legendary!
Stars it gave us: 2Baba (FKA 2Face Idibia), Eedris Abdulkareem, Tony Tetuila.
1. Mavin Records
Established: 2012
Founder: Michael Collins “Don Jazzy” Ajereh
Built from the ashes of Mo’Hits, Mavin Records became the gold standard for music business in Nigeria. From Tiwa Savage’s reign as the Queen of Afrobeats to the viral success of Korede Bello’s “Godwin” and Rema’s record-breaking, billion-streaming smash “Calm Down”, Mavin Records is Nigeria’s most impactful modern record label.
Mavin brought international investment (Kupanda Holdings) into the Nigerian market and established a long-term global artist development programme. This business led to their recent majority acquisition by Universal Music Group. The music label also operates Mavin Academy, where artists are kept out of the public eye and trained vigorously in vocal delivery, media relations and stagecraft for over a year before the world ever hears their first singles. Artists like Rema and Ayra Starr are alumni of the academy.
Stars it gave us: Johnny Drille, Rema, Ayra Starr.
‘What a man can do, a woman can do better’ is something every Nigerian woman has heard at least once, either from her schoolteacher on International Women’s Day or a relative trying to convince her to turn on the generator in the dead of the night.
Unfortunately, the sentiment behind this phrase rarely lasts beyond the moment it is spoken. Out of 109 seats in Nigeria’s Senate, only four are occupied by women, and women continue to be overrepresented in low-paid sectors like childcare and teaching. In the past few years, it may seem that corporate baddies have begun to outnumber men in the workplace, but social media is not real life, and high employment participation does not translate into equal opportunities or working conditions.
According to a survey by the International Labour Organisation, women make up 70% of Nigeria’s poorest residents, and women earn 20-30% less than men despite having equal qualifications. This gender gap is most glaring in engineering and technology. Only 22% of women study engineering and technology in Nigerian universities. It is 2026, but female engineers in Nigeria are still as rare as unicorns.
Esosa* is one of the few women who have chosen to pursue a career in engineering, and in this article, she discusses what it means to be a woman in a male-dominated field.
What is the ratio of men to women in your workplace?
For every one woman you find here, there are three men, and that is how it is in most engineering spaces. In secondary school, I was the only girl in the engineering class. University wasn’t any better; out of the 83 students in my department, there were three girls. It is very hard for a woman to break into engineering. If not for the fact that I graduated with a First Class, one would think that I was a diversity hire.
How do you feel about this imbalance in your workspace?
Objectively, I know it is bad and really exhausting, but this is how it has been since the first day I decided to become an engineer. Frankly, I’m not sure how I’d adapt in a better environment; I’ve just never pictured it.
I’ve noticed that men have very fragile egos. Once a man sees that you are doing better than him, he will accept any narrative, no matter how ridiculous, instead of admitting that you are simply brilliant. At university, my classmates spread rumours that the only reason I had such good grades was that I slept with lecturers. I still face these sex-for-benefits allegations now that I’m in the labour market. My male colleagues even joke about it to my face.
Ah? As how?
It has happened so many times that I can’t pinpoint one incident. A senior lecturer once told me that the only reason I never had a carryover was that my lecturers knew I was brilliant and giving me bad grades would raise suspicion. According to him, about 90% of them had an eye on me but could not act on their desires because they had no leverage.
While I was interning, one of my supervisors locked us both in a data centre so that he could tell me the sexual fantasies he had been having about me. Data centres are usually very loud, so no one could hear what he had to say. No one would have heard me either if I had needed to scream. Thankfully, he stopped at just words.
Did you report him?
No, it would have backfired on my career. Women are severely outnumbered, and men will stand in solidarity with each other when things like this happen. Before that incident, a coworker reported one of our bosses for sexual harassment and was made into a social outcast by the entire office. A staff member said to my face that if she had done such a thing to him, he would have arranged for her to be beaten and raped. When things like this happen, if a woman doesn’t laugh it off, she would be told she’s overreacting and subsequently labelled a bitch.
To protect myself, I blocked his number and stopped going to work early so we would never be alone together. Even after choosing to keep quiet, I still suffered for it. My tardiness made me seem unserious. It was a bitter thing to swallow in a space where I was still struggling to be taken seriously.
Why do you feel like you have to struggle to be taken seriously?
The men I’ve worked with will refer to sexism as ‘perks’ women in engineering get. For instance, some supervisors won’t assign physically demanding tasks, such as inspections, to women. At first, it may look like an act of kindness until you realise that fieldwork is more than 50% of your job description.
In the long run, we would have gained very little work experience, and when it’s time to be considered for a promotion, the men would be the better options. A woman has to work twice as hard, have serious connections, or sell her body to compete with her male counterparts. It’s hard to find women in high positions in this industry. I didn’t have anyone to mentor me or warn me of this when I started my career.
Does this have any impact on the way you approach your work?
Yes, in every way you can think of. I find myself constantly getting interrupted when I speak at work, and I’ve had my ideas credited to others several times. Because of this, I’m constantly on guard around the men I work with. It is so easy to be taken for granted, even more than I already am.
My work outfits consist of baggy trousers and big, unflattering shirts. I also don’t wear make-up just to divert attention from myself. Outside of work, I am a completely different person. I love wearing nice clothes, partying, and going clubbing, but I am extra careful about hiding my extracurricular activities. Men do these things, and nobody bats an eye, but I would become a joke if anybody from work saw that side of me.
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Would you say all the men in this field act the same way?
I’ve worked at four different companies with different sets of people, and the overall experience is consistent, but I’ve also had a lot of good male mentors. One of these mentors was the Sub-Dean of my faculty when I was in university. Once, a lecturer reported me for misconduct (he made advances toward me, and I rejected him). When he called me into his office for questioning, and I explained the situation, he wrapped up the matter immediately. He even told me that the best way to get those lecturers to leave me alone was to start asking them for money.
Why do you think the gender gap in engineering is so wide?
Men exaggerate just how difficult engineering is, and I think it’s because they are trying to gatekeep the profession. They also make it harder for women to move up the career ladder. While I was interning at a big government parastatal in Abuja, I noticed that there were only two female engineers in the engineering department, and while the men were sent on inspections, meetings and training every other week, the women were always in the office.
When I asked my supervisor why, he said that women can’t just travel and leave their families, so the organisation doesn’t send them on trips. I’ve worked at a company that not only gave maternity leave, but also had mothering rooms, where new moms could bring their kids to be babysat while they worked. I know that if organisations wanted to make it easier for women to work demanding jobs, they could. They just don’t bother to.
