“We’ve spent $3.7 million in cash. So, you should know what we are doing. It’s going to be crazy,” the 32-year-old singer said in a video shared on Instagram by fellow artiste, Teni.

The couple arrived in Miami earlier this week aboard a private jet decorated with floral arrangements and a seat tagged “MRS”, underscoring the romantic atmosphere surrounding the celebrations.

At their pre-wedding party, Davido sported a white hat, blue suit jacket, white trousers and an Ankara fabric draped over his shoulders, while Chioma dazzled in a short white gown. Guests were welcomed with a bold backdrop inscribed “Chivido. Miami. 2025” in white and gold — reminiscent of luxury bar signage.

Notable entertainers spotted at the event include Zlatan Ibile, Teniola Apata, Adekunle Gold, Tunde Ednut, and Poco Lee. Family members such as B-Red were also in attendance.

Tunde Ednut confirmed the Miami wedding, initially slated for August, will now take place this weekend.

It will be the couple’s third wedding ceremony, following their court wedding in March 2023 and their traditional wedding in Lagos in June 2024, which drew top politicians, personalities and celebrities. Osun State Governor, Ademola Adeleke, Davido’s uncle, is expected at the Miami event.

Davido and Chioma met over a decade ago while she was studying at Babcock University. Their relationship became public in 2018 when he released his hit single Assurance in her honour, followed by 1 Milli, in which he vowed to pay any price to marry her.

The couple weathered a public breakup in 2021 and the tragic loss of their first son, Ifeanyi, in October 2022. They welcomed twins in the United States in October 2023.

In a 2024 interview, Davido credited meeting Chioma before fame as a key reason for their lasting bond, saying if they had met later, he “might never have married.”

The Miami wedding is expected to be a lavish affair, adding another chapter to one of Nigeria’s most celebrated celebrity love stories.

The post Photos: Davido blows $3.7m on lavish Miami white wedding for Chioma first appeared on MegaIcon Magazine.

The post Photos: Davido blows $3.7m on lavish Miami white wedding for Chioma appeared first on MegaIcon Magazine.

Victoria Island, Lagos – Nigerian musicians David Adeleke, popularly known as Davido, Falz, and Zlatan Ibile, came together on Thursday evening to participate in a candlelight procession in honor of the late Afrobeats star, Ilerioluwa Aloba, widely known as Mohbad.

The 27-year-old artist’s passing in Lagos under controversial circumstances has spurred a nationwide outcry for justice.

Mohbad’s untimely demise has left Nigerians demanding a thorough investigation into the circumstances surrounding his death, leading to protests in various parts of the country. The candlelight procession held in Victoria Island aimed to further amplify the calls for justice in memory of the talented artist.

Hundreds of youths gathered for the procession, which commenced around 7:18 pm, paying tribute to Mohbad’s legacy and music.

Meanwhile, a parallel event unfolded in Peckham Square, located in Peckham, the UK. Participants were seen singing the late rapper’s songs in viral social media videos, demonstrating the widespread impact of Mohbad’s music beyond Nigeria’s borders.

Coinciding with these events, the Lagos State police authorities exhumed Mohbad’s body and conducted an autopsy on the remains as part of ongoing investigations.

“Autopsy has been concluded. Awaiting result…,” the Lagos Police Command spokesman Benjamin Hundeyin wrote on his X handle late Thursday

Inspector General of Police (IGP) Kayode Egbetokun ordered a comprehensive probe into Mohbad’s death, while Governor Babajide Sanwo-Olu of Lagos State called upon the Department of State Services (DSS) to collaborate in the investigation.

Furthermore, the Nigerian Senate took an interest in the matter, with Senator Elisha Abbo visiting the singer’s family in the Lekki area of Lagos State. During his visit, Senator Abbo reassured the family of the government’s commitment to ensuring justice is served in the case.

The candlelight procession and the various investigative efforts reflect the nation’s collective desire to unravel the truth behind the tragic loss of a rising star in the Nigerian music industry.

The post Nigerian Musicians Join Candlelight Procession for Late Afrobeats Star Mohbad, Demanding Justice first appeared on MegaIcon Magazine.

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Levenson had been a teacher. He however had a very noticeable talent for cracking ribs, which was becoming appreciated by the family’s Brooklyn neighbourhood. To now seek to make this second-rate comedy – something associated with indolent dregs of society – a lifelong occupation, was absolutely demeaning to Madam Levenson. Born on December 28, 1911, till his death on August 27, 1980, Levenson held the wave and rose to become one of America’s most authoritative humorists, writer, teacher, television host and journalist. That conversation young Levenson had with his mother is similar to the conversations, borne out of conservatism and ethnic pride, traded in many Nigerian homes.

Last week, Nigeria’s name reverberated all over the world again, this time not for opaque-minded leadership, corruption, banditry, Boko Haram or Fulani herdsmen’s violence. In far away Los Angeles, at the 63rd annual Grammy awards, Burna Boy, real name Damini Ogulu, won the Best Global Music Album category with his Twice as Tall traack, while Wizkid won the Best Video for his song with Beyonce. Certifying this as the path to tread by Nigeria, World Trade Organization DG, Ngozi Okonjo-Iweala, commended the awardees for their music, stating that “they were an example of services we can export. We are exporting so much of our creative arts abroad and this seems to be encourag(ing).”

Nigerian streets are littered with people who, if they had followed the path of their passions, endowments and natural gifts/talents, they could have been greater assets to themselves and mankind. Predominant in the immediate period when western education began to open doors according to professions, certain acclaims, privileges and social status were ascribed to some professions ahead of others. It was thus more socially befitting to be a lawyer, judge, medical doctor, than to be a teacher, for instance. Down the ladder, same level of social ostracism abounded and still abounds. In societies which predicated statuses on hard work, some professions, occupations and preoccupations were literally anathema.

In the Yoruba pre-colonial, colonial and immediate post-colonial society, for instance, you were worse than a leper if you chose music or performing arts as a profession. Many of those musicians who later rode to the crest of acclaim, wealth and fame fought titanic battles with society, their parents and families before they gained any modicum of respect and regards. One of such was Haruna Bello Ishola, popularly known as Baba Gani Agba.. Born in 1919, he became very consequential in his musical career. As one of the foremost, if not the foremost singer of the Yoruba music genre of Apala, he was awarded the national award of Member of the Order of the Niger (MON). His renown in western region social circuit was such that he carved a reputation for himself as the foremost in-demand entertainer at parties by the nouveau riche Yoruba elite of the time.

Long before his first album was produced in 1948, which he entitled Late Oba Adeboye, (Orimolusi Of Ijebu Igbo) and which was released under the label of His Masters Voice (HMV), Ishola faced the raw odium of a Yoruba society which perceived musicians as alagbe (beggars) and lazy drones. In one of his songs when fame, wealth and recognition had come in a spurious surge, Ishola rendered the battle he fought with society in one of his songs thus: “When we started long ago, colleague musicians who didn’t know this job would be a money-spinner quit and fell by the wayside…That was when singers, drummers were called lazy, indolent people…Many ran away.” It went thus in Yoruba: Nigba ti a bere lojo ojosi// Awon ti o mo pe ise ola ni ninu wa, nse ni won yeri// Igba yen ni won np’olorin l’ole, won np’onilu lole//To m’elomi sa pata.

That same musician was to later have one of the tracks in what is regarded as his titular album, named Oroki Social Club on Decca Records. The track was an ode to popular and prestigious Osogbo, present Osun State-based club members, who gathered in a nightclub where Ishola performed concerts and entertained sold-out audiences. Oroki Social Club became the most outstanding album of Ishola’s singing career, selling over five million copies, even in his lifetime. He later established his own record label called Phonodisk, after failed label partnership with IK Dairo and later with a colossus music industry investor, Nurudeen Omotayo Alowonle, with whom he established the Express Record Dealers Association in 1964. That venture later became a celebrated court case on intellectual property right. Before Ishola’s death in 1983, he was one of the first set of musicians to tour prominent places in the world, travelling to Benin Republic, United Kingdom, France, West Germany and Italy.

Ask many of those musicians, standup comedians who later rose to fame and acclaim and they will tell you the tortuous road of societal disdain and rejection they journeyed to the top. It was inconceivable to their societies that, in a world where people strove to become doctors, lawyers, engineers and pharmacists, a right-thinking person could embark on awada (comedy), footaballing, athletics, for a living or entertaining crowds and wait for dole-outs before they could get their daily bread. Many of those jokes that made standup comedians reap mega-bucks today were ones that provoked mirthless guffaws over palmwine. Such artists never rose beyond cracking the ribs of their friends at beer parlours. These A-list artists were once perceived as dregs of society. Women fled from them for fear of being recipients of the odium of society and those who associated with them took huge slices of such disregard. Their parents were not proud of them and dithered from publicly identifying with them.

Particularly in southern Nigeria, where a life of dependency on dole-outs was an anathema, anyone associated with entertainment and arts was seldom respected. In fact, they believed such life was a precursor to becoming a thief. In an interview in December last year, centenarian Mrs. Morenike Owomoyela, mother of Kennery music boss, Oladipupo Owomoyela, Orlando Owoh, said she was furious when her son abandoned school for the dancehall. She said: “Initially, I was very furious. I asked him why he would take such a decision because I could not understand why he would abandon school and be singing about.  But later, people came to appeal to me to let him pursue his dreams, that he could also make it in life through music. After much thought, I stopped discouraging and I allowed him.”

Yet, music constitutes the fabric of the African’s way of life. As I wrote in my book, Ayinla Omowura: Life and Times of an Apala Legend (page 19): “Music forms a major aspect of the typical life of an African. Indeed, it cannot be divorced from the core constitution of the fabric of the African. From wake-up at dawn to retiring to his bed at dusk, the African interfaces with music in virtually all segments of his existence. The interface is so sweeping that it would be difficult to describe the African life without amply stating the minutest details of how he is shaped by a life of music… music is actually central to the three phases of his existence, which are joy, sadness and relaxation. At those crucial moments, music acts as a consul, a companion, with which he is able to explain or live through those critical moments of his existence.”

Today, however, perceptions are changing and the Nigerian society is moving at a supersonic speed with the rest of the world. All around the globe, entertainers are given kudos for their works as entrepreneurs who performed their civically-minded, problem-solving roles in society, as well as acting as agents for social change. Artists, for instance, play huge roles in community change, development and placemaking. They earn multiple of millions of dollars for their acts and have their fames reverberating all over the world. It is same for artists in Nigeria. Take for example one of the most influential artistes in Africa, 28-year old Nigerian-American singer, songwriter and record producer, David Adedeji Adeleke, who is better known as Davido. Though son of billionaire Deji Adeleke, at such young age, Davido duds the wealth and fame of his father, personally making mega fame, acclaim and wealth from creative arts. He is estimated to have a net worth of $16 million, coasting home as the richest musician in Nigeria. He has garnered wealth from music and endorsement projects, chief among which is the $78,296 (N30 million) MTN endorsement deal, Guinness Nigeria, and Infinix mobile. He was said to have bought a Bentley for his father a couple of years ago.

Now, the province of creative art is being rudely barged into by children brought up with silver spoons. First daughter of billionaire Femi Otedola, Olawunmi Christy, better known as Tolani,  born on April 21, 1986, has also joined the league by becoming one of  Nigeria’s singers and songwriters. In tow is Folarin, stage name Falz, another popular Nigerian rapper, singer, online comedian and actor and lawyer son of activist, Femi Falana.

This is a wakeup call on those parents who criminalize and demonize the arts, whose children must be doctors, lawyers, engineers or nothing else. They should painstakingly identify their wards’ endowments, talents and prod them up with proper education. On a lighter note, why should it be that, when law, engineering, medicine, pharmacy etc. were the vogue of professions, the elite and nouveau riche children were quick to be found in that theatre and now that creative arts has taken over, same set of people must be the controllers!

The post Burna Boy as Nigerian musicians’ gutters-to-Grammy story | By Festus Adedayo first appeared on MegaIcon Magazine.

The post Burna Boy as Nigerian musicians’ gutters-to-Grammy story | By Festus Adedayo appeared first on MegaIcon Magazine.

Reports of his passage sauced his strides on the dancehall with near-magical exploits while he reigned. As he scintillated the audience with his hugely celebrated multiple award-winning single, Send down the rain, either coincidentally or through an inexplicable magical realism, raindrops suddenly began to well down from the face of the firmament.

Thrown into sudden limelight by his 1988 album entitled Prisoner of Conscience, a string of awards came the way of the man now dubbed The Rainmaker. He was exceedingly talented and blessed with a vocal resemblance of another reggae great, Jamaican Robert Nesta Marley, also known as Bob Marley.

Majek released some highly rated songs which got his African audience nostalgic of the passage of Marley all over again, and concluding that he could effectively musically fill the void of the Caribbean musical idol’s untimely passage. Songs like the highly philosophical My Guitar where Majek evocatively glamourized the imperishability of this musical instrument, suggesting that it would still be alive, even when heaven and heart pass away, gave the musician a compositional rating of note.

So also his re-rendition of Marley’s old spiritual song, Redemption Song, which captured the plights of African freedom fighters and the hope of a great future, in spite of how the contributions of these fighters had been flung aside by rewriters of African history. Fashek however carved out his own unique blend from the mimicry of reggae music that was beginning to come out of emerging Nigerian musicians of the time. Such crew of that time ranged from Terra Kota, Evi Edna Ogholi, Mandators and later, Ras Kimono. His own musical blend he proudly named Pangolo which was decidedly a fine brew of rock and reggae.

As Fashek’s renown began to spread like bushfire, so also was his rumoured pastime for drug consumption. Gradually, the handsome young man with huge promise of lighting Nigeria’s name on the global musical firmament got enmeshed in drug addiction which began to hugely affect his availability for musical shows and even ultimately, his talent.

Between the time he came into limelight in 1988 and the time he passed on last week, Fashek’s active musical years were a mere conservative half of the 32 years that his name was hoisted on dancehall list of notables. In 2015, news of his bankruptcy filled the air which synchronized with that of his admission into a drug rehab centre in Abuja. During this period, the picture of Majek that hopped up in the media and that many encountered when they came across him was that of a man who needed immediate help.

He looked haggard, forlorn and ostensibly seriously battling ill-health, alongside a dangerous pastime of drugs consumption.

Friends rallied round him and attended to his hospitalization need. In the midst of this, in September last year, rumours of his passage filled the stratosphere, which was immediately dispelled. Those who staved off the rumour however confirmed that he was critically ill and was in a London infirmary. By the time he passed on June 2, 2020 in New York City at 57, it was revealed that he battled, alongside his drug rehabilitation binge, esophageal cancer.

I went into this long musical biography of Majek Fashek to be able to establish that in his death, Nigeria had lost a musical gem to a consistent cancerous affliction among musical stars called drug addiction. Though there is an implosion of drug addiction among Nigerian youths, probably raised high by the consistent hopelessness that the youth can vividly see, rather than a bright horizon, drug consumption has, from time immemorial, being the bane of Nigerian music and musicians. It is an affliction that didn’t just start yesterday; it has dragged many notable Nigerian musicians down the sepulcher in their scores.

There has been this subsisting notion – notorious even outside the shores of Nigeria – that drug consumption contributes highly to artistic inspiration. While scientific studies locate a liaison between these two, no study has been able to strictly confine inspiration strictly to drug consumption. In other words, there have been artists who oscillated at the topmost height of their careers but who did so while maintaining wide social distancing from drugs.

What this means is that, yes drugs can be enhancer of inspiration, other less-dangerous pastimes can evoke even higher inspirations as well. As successful artistes exist/existed who were tied to the apron strings of drugs, you could count artistes of even equal number who were permanently in dissonance with drugs.

In my book, Ayinla Omowura: Life and Times of an Apala Legend, I drew on a canvas the tragic Shakespearean life of Ayinla, an equally highly talented Yoruba musician whose life was cut short in his prime. While drug consumption, which he was notorious for, like Majek, couldn’t be strictly isolated as cause of his death, it was obvious that if Ayinla had escaped the violence that eventually took his life, another death lurked in the backyard for him in his unconscionable drugs addiction.

There is no gainsaying the fact that many of today’s musicians are enmeshed in a binge of drugs consumption. Fela Anikulapo-Kuti, Orlando Owoh and many other departed musicians, are some of the superlative artistes who were notorious consumers of drugs. Slightly over a year ago, the name of hip-hop singer, Davido was caught in a messy puddle of drug allegation when some of his friends were caught with the substance, a pastime that claimed the lives of some of them. For the Davido gang in the musical and showbiz world, it is almost an anathema not to be involved in the culture of drugs which I once dubbed the water bottle culture.

This has proved to be the graveyard of many in this category.

As I penned this lamentable end of the glittering star, Majek, I remembered another musical star close to my heart which dimmed unceremoniously. It is the tragedy of the life of Brenda Fassie, a highly talented South African singer, so talented that the great Nelson Mandela was not only fascinated by her song and danced with her on the dancehall, the Madiba and million others, including this writer, were her fans.

Born November 3, 1964 in Langa, Cape Town, Brenda, like Majek, was a wonder to watch. Her album, Memeza (Shout) which was released in 1997, is rated as the apogee of her musical success. It went platinum on the first day of its release. After Yvonne Chaka Chaka, arguably no musician from that country possessed her waltz and voice. She also made a huge contribution to Miriam Makeba’s famous hit, Sangoma, as well as Harry Belafonte’s anti-apartheid song, Paradise in Gazankulu. She was once voted 17th in the Top 100 Great South Africans.

Unfortunately, Brenda was a suicidal drug addict and addictively wedged to lesbianism.

Brenda was not only talented, she possessed the tantrums of divas, so much that the Time magazine dubbed her the Madonna of the Townships. The world however began to notice hiccups in her life when her weird passion spilled into limelight in 1995. Brenda was found in a hotel room with the remains of her lesbian partner, who passed on during an orgy. She had died of apparent drug overdose. Brenda herself must have gone in and out of a rehab for about 30 times and on one occasion, sure she had overcome drugs, screamed, “I’m going to become the Pope next year. Nothing is impossible!” A few years after, Brenda reportedly collapsed in her brother’s arms, flung her last cocaine straw on the kitchen floor of her home in Buccleuch, fell into a coma and died on May 9, 2004, shortly after suffering from a brain damage. Post mortem report even claimed she was HIV-positive.

Today, hundreds of musicians and emerging stars, especially in Nigeria, are trapped in waltz of drugs. Their excuse is that it is a performance-enhancer. They however fail to come to terms with two facts: one, that you could perform resplendently without drugs and second, drugs could cut your life short at the cusp of stardom.

This is the life of Majek Fashek; a star who lit his own candle in the wind.

The post Majek Fashek and the curse of drug addiction | By Festus Adedayo  first appeared on MegaIcon Magazine.

The post Majek Fashek and the curse of drug addiction | By Festus Adedayo  appeared first on MegaIcon Magazine.

The 33-year-old died on Monday at about 8am following a bike accident Sunday night in Abidjan, Côte D’Ivoire.

According to reports, his motorcycle was hit by a car driven by a journalist from Radio Côte d’Ivoire.

DJ Arafat was reportedly unconscious while being rushed to the hospital before he died on Monday.

According to BBC Afrique, he was a highly celebrated and accomplished Coupe Decale Artist.

He won the Best Francophone Award at the 2015 MAMAs and was nominated for Best African Act at the 2015 MTV EMA.
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In May 2019, DJ Arafat’s Moto Moto hit 1 million YouTube views in less than 24 hours.

Music superstar Davido took to his twitter and Instagram pages to pay tributes to the late artiste.

He simply wrote: “RIP Yorobo. I love you”.

The post Davido, others mourn as DJ Arafat dies first appeared on MegaIcon Magazine.

The post Davido, others mourn as DJ Arafat dies appeared first on MegaIcon Magazine.

Hopper, an Instagram planner and scheduling tool that has its company based in the United Kingdom, recently published a list capturing the wealthiest public figures around the globe and the value of their Instagram posts.

The 27-year-old, who mostly makes use of his account to share information about his career and life, had a unit of his Instagram posts valued at $74,000 (N26 million), with his net worth pegged at $16 million.

Having ranked number 38 on the listicle, Davido is also reported to be the second wealthiest in Africa on the platform — above the likes of Funke Akindele Bello, Wizkid and Tiwa Savage, who also made the list.

Wizkid emerged 46th and had his IG account valued at $49,700 dollars (N18 million) for each post, as against Funke Akindele whose post was rated at $50,500 dollars (over N19 million).

Tiwa Savage, who took the number 48 spot on the list with over 7.5 million followers, was valued to be earning $47,200 (N17 million) per IG post.

While Kylie Jenner, American media personality, topped the list on a global scale with a cost per post of $1,266,000, Mohammed Salah, professional footballer, was rated the richest in Africa — having been valued at $165,000 per IG post.

See the full list here.

https://iso.keq.mybluehost.me/messi-maradona-plead-for-sala-search-to-continue/

The post Davido named richest Nigerian on Instagram first appeared on MegaIcon Magazine.

The post Davido named richest Nigerian on Instagram appeared first on MegaIcon Magazine.

The artiste, who is also called OBO, made this statement on Wednesday in a video uploaded on Instagram.

In the video, he expressed gratitude to all those who played a part in facilitating the release of his collaborative single with Chris Brown.

“I’m already used to it. I’ve been in the industry for seven years and nobody supports me. From morning till night, it’s just hate. Because of what? My father’s rich? Is it my fault? I work hard, I deliver hits. I support my people,” he said.

“If you have a problem with me, suck my d**k, f**k you. I want to thank all my brothers and sisters, fans, Chris Brown and others that supported me for this single. We all rise by lifting others.”

Davido’s eight-year career has been marked with various hit songs and awards on the local and international scene.

He is the son of Adedeji Adeleke, a Nigerian millionaire and business mogul.

He is also a nephew to Ademola Adeleke, who recently contested the Osun state governorship elections.

The Afropop crooner and record producer was born in Atalanta. In 2011, he dropped out of Oakwood University to foray into music-making with his debut single ‘Dami Duro’.

He was recently named the richest Nigerian on Instagram and the second-richest in Africa alongside a league of the wealthiest global public figures in the entertainment industry.

Nigeria is killing me – Yemi Solade

The post Nobody supports my music financially, says Davido in Instagram rant first appeared on MegaIcon Magazine.

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According to NAN reports, the ‘Aye’ singer has amassed over 500 million views across all his uploads on the platform to achieve this feat.

The reports also added that in January, Davido’s hit song, ‘Fall’ beat out Yemi Alade’s ‘Johnny’ to become the most viewed Nigerian music video on YouTube.

He then became the first Nigerian artist to reach over 100 million views on YouTube racing ahead of Yemi Alade and Tekno.

As the head of his label, DMW, Davido’s YouTube page also streams the tracks and videos of his label mates including Mayorkun, Peruzzi and Dremo.

In 2017, Davido had an unprecedented career resurgence with his row of hits including ‘If’, ‘Fall’, ‘Fia’ and ‘Like Dat’.

Davido was the first Nigerian artist to reach one million, two million, five million and nine million followers on Instagram and now one of the most bankable Nigerian on the platform.

NAN reports concluded that Davido recently sold out London’s O2 Arena and recorded the longest-charting Nigerian single in Billboard history.

The post Davido Adjudged Most Viewed Nigerian Artiste On YouTube first appeared on MegaIcon Magazine.

The post Davido Adjudged Most Viewed Nigerian Artiste On YouTube appeared first on MegaIcon Magazine.

Dampte’s, who has been in the news for the success of his trending single off the “The Awoodah Returns EP, ‘No Be Joke’, topping the international music chart – iTunes, will be storming the Escape Venue, Northampton, where the concert has been scheduled to hold Saturday, February 2, 2019.

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Speaking with Friday Treat, he said it was a big thing for him to share the same stage with one of the world’s greatest musician, David, who recently sold out his concert at the 20,000 capacity 02 Arena in London.

“For me, it’s a good thing. No artiste, not yet in Davido’s height, will be sad to share the same stage with him.     Ever since my fans got to know I would be coming for the show, the anticipatiom has increased. Peopelt are loving the Dampte brand the more.

Asked whether he has plans to work with Davido after the gig, he said he didn’t want to reveal that for now. “I may not want to give any comment about that until it is time.”

The post Dampte Confirmed To Shutdown London Show With Davido first appeared on MegaIcon Magazine.

The post Dampte Confirmed To Shutdown London Show With Davido appeared first on MegaIcon Magazine.

Davido and DMW made the announcement on their Instagram pages, sharing a photo of the artiste signing his contract.

The caption read: “WELCOME TO THE FAMILY @peruzzi_vibes”

Peruzzi, elated about his new contract, also shared the photo on his Instagram post.

He wrote: “It’s called, I feel blessed to be welcomed on this platform Time to let these music heal the world!! #TakeOver

“God Bless You @davidoofficial@kingpatrickgb@kolotainment WE MOVE!!!

The post Davido signs Peruzzi to his DMW label first appeared on MegaIcon Magazine.

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