Afrobeats superstar David Adeleke, widely known as Davido, has recently voiced his perspective on the criticism he faces, asserting that his affluent background is the primary driver behind it.
In a candid conversation on the Culture Knock Out podcast, the "OBO" hitmaker suggested that the "rich kid" label could have significantly hindered his burgeoning career had he not initially kept his family's wealth private.
Davido explained that by the time his privileged background became public knowledge, he had already established himself with a string of successful hit songs. This initial period of anonymity, he believes, shielded him from the full force of the skepticism often directed at artists from wealthy families.
He recounted, “I’m the biggest criticised artist in Nigeria. I mean, I’m on fire and I’ve been on fire for a while. In the beginning, they didn’t know that my dad was rich. So the stigma of a rich kid doing music didn’t end up as crazy as it should have been for me.
“People didn’t know my father was rich. It was too late, I already did three hit songs before they found out that my dad had money…”
Davido further emphasized his unwavering passion for music, stating that his ambition transcended his financial circumstances. “But I just wanted to do music. I didn’t care if I had to become homeless. At that point, that was all I wanted to do. Nothing would stop me.”
Reflecting on the trajectory of his career, Davido acknowledged the shift in public perception. “Over time, people started hating me because my dad is rich. But I keep on dropping good music, and it keeps working out.”
Drawing a parallel to other fields of success, the artist noted the inevitability of criticism that often accompanies reaching the pinnacle of one's profession. “It happens to everyone, once you become the biggest in anything, you will get criticised. You are doing an election, people love you and they vote for you. But when you become president, they hate you.”
Davido's comments shed light on the complex dynamics of fame, wealth, and public perception within the Nigerian entertainment industry, suggesting that even significant musical achievements may not entirely insulate an artist from scrutiny rooted in their background.