In a recent episode of The Real Shareholders podcast, Illbliss recounted a disheartening encounter with a Lagos-based radio presenter following the release of his track Igbo Boy—a song celebrating Igbo culture and lifestyle.
“After I dropped the record, a radio presenter called me and said, ‘What are you trying to do? You can’t make it here. You’ve come here with an agenda. Omo-Igbo,’” Illbliss recalled. “Then he broke off into fluid Yoruba. At that point, I was already understanding Yoruba, so I caught everything he was saying.”
According to the Aiye Po Gan hitmaker, the presenter acknowledged that the music was good but dismissed its chances of success due to the language in which it was performed. “He said, ‘When you can’t beat them, you join them. The music is good, but it won’t go far,’” Illbliss added.
Though the track Igbo Boy was neither political nor provocative, Illbliss said the experience left him with a deep sense of alienation. “The song wasn’t even offensive. It was about how Igbo people like to have a good time. Just looking at that guy, it made me feel terrible,” he said.
More than just a personal slight, the moment revealed to Illbliss the complex tribal dynamics that continue to shape Nigeria’s cultural industries. “We can disguise all we want about being one nation,” he remarked, “but the tribal divisions are incredible to handle.”
Illbliss's reflection underscores a broader issue that many artists face in a country where ethnic identities often intersect with access, recognition, and success. His resilience in the face of such discouragement has since helped pave the way for greater regional diversity in Nigerian hip-hop—a space he continues to influence through both his music and advocacy.