Three Years After “Theta,” Can Brymo Still Escape Controversy?

Three years after I reviewed Brymo’s “Theta” album in June 2022, awarding it a 7/10 rating for its innovative blend of folk sensibilities and direct storytelling, the Nigerian alternative singer finds himself at the center of an increasingly complex cultural debate.

The same artist who crafted the contemplative “Illusions” and the heart-driven anthem “Pim Pim” has become equally known for inflammatory political statements and controversial social media behavior that many find irreconcilable with his artistic messaging.

“Theta,” Brymo’s tenth studio album, arrived as what he described as “a study of humanity’s struggles – and a view into what it might have been.” The 35-minute sonic journey opened with “Illusions,” where Brymo employed Pidgin English to tell cautionary tales about reckless adventures: “My brother no go oh. The people them wey go river never return oh, dem say na mami water, Carry everybody go oh.” The track’s folk-like undertones created an intimate atmosphere that invited listeners to absorb its deeper meanings about learning from others’ experiences.

This musical sophistication continued throughout the album. “Dem No Born Us Together” showcased clear Fela Kuti influences, with Brymo adopting vocal patterns reminiscent of the Afrobeats pioneer while delivering messages about individual paths: “My way nah way, Your own nah your own oh, Naso e dey, Reach where we dey today so.” The track exemplified Brymo’s ability to channel legendary influences while maintaining his distinctive voice—a quality that has defined his decade-long career.

Yet as we examine Brymo’s trajectory in the three years since “Theta,” a troubling paradox emerges. The artist, capable of creating nuanced explorations of human experience like “Market Square”—a satirical commentary on humanity’s relationship with karma—has simultaneously generated headlines for ethnic bigotry, inappropriate conduct toward female colleagues, and divisive political commentary. This disconnect forces a critical examination of whether artistic merit can exist independently of personal character, and whether audiences should attempt such separation.

Musical Evolution Beyond “Theta”

Brymo’s post-“Theta” output has maintained the artistic standards that earned critical acclaim. His 2023 release “Macabre” demonstrated continued innovation across 12 tracks where he performs solo throughout. The album seamlessly blends Alte, African folk, Soul, Pop, and Reggae elements, featuring unique structural experiments like “Dozen Girls” flowing into “Dear Muse” and “Truth is the New Cool” merging with “This Man, The Universe is Ours” and “Jupiter.”

This musical sophistication reflects what industry observers have long recognized: Brymo’s technical competence and creative vision remain undiminished by personal controversies. His self-description as a “sonic artiste” accurately captures his approach to integrating storytelling, cultural references, and social commentary into cohesive musical statements.

The thematic consistency across his recent work is particularly notable. From “Yellow” (2020) through “Macabre,” Brymo has maintained focus on morality, social consciousness, and cultural identity. His exploration of Yoruba traditional, mythological, and historical experiences provides depth that distinguishes his work from mainstream Nigerian popular music. This intellectual approach to songwriting—evident in “Theta’s” direct lyrical style and “Macabre’s” genre experimentation—positions him as one of Nigeria’s most thoughtful contemporary artists.

The Expanding Web of Controversies

However, Brymo’s personal conduct has increasingly overshadowed his artistic achievements. The controversies have escalated significantly since “Theta,” reaching a crescendo during Nigeria’s 2023 election cycle when he made inflammatory statements about ethnicity and presidential politics.

● The Ethnic Bigotry Allegations

In early 2023, Brymo publicly declared his support for the APC presidential candidate while stating he would never support an Igbo presidency due to ongoing Biafran agitation in southeastern Nigeria. The statement, posted across his social media platforms, sparked immediate backlash from across Nigeria’s political spectrum.

“I will never vote for an Igbo man, and if an Igbo man emerges as president, me and my household will relocate from Nigeria,” Brymo wrote, before elaborating that his position stemmed from what he perceived as secessionist tendencies in the southeast. The statement was widely interpreted as ethnic bigotry, particularly given Nigeria’s delicate ethnic balance and history of civil conflict.

The response was swift and severe. Over 40,000 people signed a Change.org petition calling for the revocation of his nominations at the eighth annual All Africa Music Awards. Critics across the political spectrum condemned the statement, with many pointing out the irony of an artist whose music promotes unity and social consciousness making divisive ethnic pronouncements.

The controversy deepened when Brymo defended his position in subsequent interviews, arguing that his concerns about Biafran agitation were legitimate political considerations rather than ethnic prejudice. This defense satisfied few critics, who noted that his blanket rejection of Igbo candidates regardless of individual qualifications suggested deeper prejudicial thinking.

● The Simi Controversy and Industry Power Dynamics        

Perhaps even more damaging was Brymo’s 2023 revelation about his interactions with female artists in the industry. In a voice note posted to social media, he admitted to requesting sexual relationships from female musicians in exchange for collaborations, specifically mentioning popular singer Simi.

According to Brymo’s account, he had approached Simi about a potential collaboration but conditioned his participation on her agreeing to a sexual relationship. When she declined, he claimed to have withdrawn from the project. The revelation sparked outrage from Simi’s husband, Adekunle Gold, who issued public warnings for Brymo to avoid his family.

Rather than apologizing, Brymo doubled down on his behavior in subsequent interviews. He described his approach as part of an “artistic pursuit” and revealed that Simi was not unique—he had made similar propositions to seven female artists, with four agreeing to collaborations after these discussions. He emphasized that not every collaboration involved such conversations, but his casual admission of this pattern revealed a troubling approach to professional relationships.

The controversy highlighted broader issues within Nigeria’s music industry regarding power dynamics and exploitation. Brymo’s behavior exemplified how established male artists might leverage their industry position to make inappropriate demands of female colleagues. His matter-of-fact discussion of these incidents suggested a lack of understanding about the problematic nature of mixing professional opportunities with sexual propositions.

● Historical Pattern of Controversial Behavior

These recent controversies build upon a career-long pattern of divisive incidents. In 2020, Brymo faced public rape allegations posted on social media platform X (formerly Twitter). He vehemently denied the accusations and responded creatively through his EP “Libel,” whose cover art featured women’s panties, blood, and broken glass—a visual representation of his emotional response to what he characterized as defamation.

Earlier controversies included disputes over his 2016 album “Klitoris,” whose title and cover art—featuring a naked woman with animal horns—drew criticism for objectifying women. Brymo later explained that “klitoris” means “key” in Greek and that the artwork was created by American artist Georgi Georgiev, but the initial reception highlighted ongoing tensions around his artistic choices.

The 2018 music video for “Heya!” generated additional controversy when Brymo appeared semi-nude, wearing only a loincloth. Critics questioned the appropriateness of the imagery, while Brymo defended it as an attempt to recreate humanity’s primal state before self-awareness about nakedness. The explanation satisfied few critics, who saw it as another example of his tendency toward provocative visual choices.

His 2013 departure from Chocolate City records also involved public controversy, with disputes over contract terms playing out in social media and legal proceedings. While that controversy was eventually resolved, it established a pattern of public disputes that has continued throughout his career.

Scholarly Perspectives on Art and Artist Separation

The challenges Brymo presents tap into fundamental questions in aesthetic theory and cultural criticism about the relationship between artistic creation and creator identity. Contemporary scholars have approached this relationship from multiple angles, offering frameworks for understanding cases like Brymo’s.

Literary theorist E.D. Hirsch Jr. has argued for the importance of authorial intention in interpreting artistic works, suggesting that understanding a creator’s background and beliefs is essential for proper interpretation. From this perspective, Brymo’s personal views and behavior become relevant to understanding his music’s meaning and value.

Conversely, New Criticism theorists like Cleanth Brooks and William Wimsatt advocated for evaluating artistic works independently of biographical information about their creators. Their “intentional fallacy” concept suggests that focusing on artist biography can distract from the work’s inherent qualities and meanings.

Applied to Brymo’s case, these competing approaches yield different conclusions. An intentionalist reading might see his ethnic statements as undermining songs like “Black Man, Black Woman” that advocate for racial unity. An anti-intentionalist approach would evaluate such songs based on their lyrical content, musical arrangement, and emotional impact independent of his later political statements.

Philosopher Noel Carroll has explored how moral considerations should influence aesthetic judgment, distinguishing between works that promote immoral values and those created by morally problematic artists. Carroll argues that moral defects in the artist don’t necessarily transfer to their artistic output, particularly when the work itself promotes positive values.

This distinction proves relevant to Brymo’s situation. While his personal conduct raises moral concerns, his music consistently promotes unity, social consciousness, and cultural pride. Songs like “Theta’s” “For You” and “Tomorrow” offer thoughtful reflections on human relationships and personal growth without endorsing the problematic views he’s expressed publicly.

Postcolonial theorist Homi Bhabha’s work on cultural hybridity provides another lens for understanding Brymo’s position. As a Nigerian artist drawing from both traditional Yoruba culture and contemporary global influences, Brymo operates within complex cultural negotiations that may not always align neatly with Western liberal values or even contemporary Nigerian urban sensibilities.

This perspective doesn’t excuse his controversial statements but suggests they might reflect broader tensions within Nigerian society about ethnicity, politics, and gender relations. Understanding these contexts becomes important for international audiences engaging with his work and controversies.

Industry and Audience Response

The response to Brymo’s controversies has revealed significant divisions within Nigeria’s music industry and broader cultural landscape. Unlike international cases where controversial artists have faced widespread industry ostracism, Brymo’s situation has generated more nuanced reactions.

Major streaming platforms like Spotify, Apple Music, and local services like Boomplay have maintained Brymo’s music without restriction. This differs markedly from how some international artists have been removed or de-emphasized following controversies. The continued availability suggests either different standards for controversy or recognition that his music itself doesn’t promote harmful content.

Streaming data indicates mixed audience response. While some fans have publicly declared boycotts following his controversial statements, his monthly listeners on major platforms have remained relatively stable. This suggests a core fanbase willing to separate artistic consumption from personal approval, though growth in new listeners appears to have slowed.

Responses from fellow Nigerian artists have been notably muted compared to international cases where industry figures often take public positions on controversial colleagues. This silence might reflect industry solidarity, fear of becoming embroiled in controversy, or simply different cultural norms around public criticism of peers.

However, some artists have indirectly addressed the issues Brymo’s behavior raises. Female musicians have increasingly spoken about industry exploitation and inappropriate behavior without naming specific individuals, suggesting his admissions about propositioning colleagues have contributed to broader conversations about professional conduct.

Music critics and cultural commentators have struggled to balance recognition of Brymo’s artistic merits with criticism of his personal conduct. Reviews of “Macabre” and his recent performances often include disclaimers about his controversial statements while still acknowledging his musical innovation.

This critical approach reflects broader uncertainty about how to handle talented but problematic artists. Critics recognize that ignoring artistic merit because of personal failings might impoverish cultural discourse, yet they also acknowledge that uncritical praise might seem to endorse problematic behavior.

The Economics of Artistic Consumption

Brymo’s situation also raises questions about the economic dimensions of artistic consumption and moral choice. Unlike previous eras where consuming art required specific purchases that directly supported artists, streaming creates more complex relationships between consumption and financial support.

Each stream of Brymo’s music generates fractional revenue that contributes to his income, but the amounts are so small that individual consumption choices have minimal economic impact. This differs from purchasing albums or concert tickets, where individual choices represent more significant financial support.

However, collective streaming behavior does influence chart positions, algorithmic promotion, and industry perception—factors that affect an artist’s broader success and cultural influence. Fans choosing to stream or avoid Brymo’s music participate in these collective dynamics even if individual impact is minimal.

Live performances represent more direct economic support, as ticket purchases and merchandise sales provide substantial artist revenue. Brymo’s concert attendance since his major controversies has reportedly declined in some markets while remaining strong in others, suggesting geographic and demographic variations in audience response.

The live performance context also creates different ethical considerations. Attending concerts involves more active engagement than passive streaming and often occurs in social contexts where consumption choices become public statements.

International Comparisons and Context

Brymo’s situation gains additional perspective when compared to similar controversies involving international artists. Cases like those of Kanye West, R. Kelly, and various rock musicians who have faced accusations of problematic behavior provide frameworks for understanding audience and industry responses.

Nigerian cultural contexts create different considerations than those operating in Western markets. Issues around ethnicity and politics carry particular weight given Nigeria’s complex ethnic composition and history of conflict. Similarly, discussions about gender relations and power dynamics in professional settings occur within specific cultural frameworks that may differ from international norms.

These contextual differences don’t resolve the ethical questions Brymo’s behavior raises, but they suggest that simple applications of international precedents may miss important nuances in how his controversies are understood locally.

The role of social media in amplifying and perpetuating controversies represents another important factor. Brymo’s problematic statements spread rapidly across Nigerian Twitter and other platforms, reaching audiences who might never encounter his music. This amplification creates situations where his controversies become more widely known than his artistic work.

The permanence of social media also means that controversial statements remain accessible long after they’re made, creating ongoing reputational challenges that previous generations of artists didn’t face.

Personal Stakes and Individual Choice

For individual listeners, the question of continuing to engage with Brymo’s work ultimately becomes deeply personal. Music consumption involves intimate emotional connections that make ethical calculations complex.

Fans who have found meaning, comfort, or inspiration in Brymo’s music may experience his controversial statements as personal betrayal. Songs that once provided emotional support can become sources of conflict when associated with problematic artist behavior.

This emotional dimension differentiates artistic consumption from other moral choices. Unlike decisions about products or services, musical engagement involves psychological and emotional investment that makes separation more difficult.

Individual listeners must also navigate practical considerations about their consumption choices. These might include questions about supporting Nigerian music generally, the availability of alternative artists with similar aesthetic approaches, and the role of music in personal and social identity.

Some fans report continuing to listen to Brymo’s older work while avoiding new releases, creating temporal distinctions in their consumption patterns. Others have shifted to streaming his music through platforms that minimize artist revenue, attempting to separate aesthetic appreciation from financial support.

The Broader Cultural Questions

Brymo’s case ultimately reflects broader cultural questions about accountability, redemption, and the role of art in society that extend well beyond any individual artist or controversy.

His situation raises questions about what standards should apply to artists as public figures. Should musicians be held to the same accountability standards as politicians or other public figures? Do artists have special responsibilities because of their cultural influence, or should they be evaluated primarily on their creative output?

Different perspectives on these questions lead to different conclusions about how to handle Brymo’s controversies. Those who see artists primarily as entertainers might emphasize artistic merit over personal conduct, while those who view artists as cultural leaders might demand higher standards of public behavior.

Another crucial question involves possibilities for redemption and growth. If Brymo were to acknowledge his mistakes, demonstrate genuine remorse, and show behavioral change, how should that affect evaluation of his work and public standing?

Currently, Brymo has shown little evidence of such growth, often defending or rationalizing controversial statements rather than acknowledging their problematic nature. This pattern makes redemption narratives difficult to construct and leaves audiences without clear paths for re-engagement.

Looking Forward: Unresolved Tensions

Three years after “Theta” demonstrated Brymo’s continued capacity for artistic innovation and cultural insight, his career trajectory remains defined by the tension between creative achievement and personal controversy. Recent works like “Macabre” showcase the same musical sophistication and cultural engagement that have always distinguished his output, yet they exist within a context increasingly shaped by accumulated public relations disasters.

The musical analysis that praised “Theta’s” folk influences, direct storytelling, and genre innovation remains valid for his subsequent work. His continued ability to blend traditional Nigerian musical elements with contemporary alternative approaches represents genuine artistic achievement that will likely outlast current controversies.

However, the cultural context in which this music exists has fundamentally changed. The artist who created “Illusions'” cautionary wisdom about learning from others’ mistakes has himself become a cautionary tale about the consequences of controversial public behavior.

The Persistent Questions

The question of separating Brymo from his controversies resists simple resolution because it touches on fundamental issues about art, morality, and cultural consumption that contemporary society is still learning to navigate. His case demonstrates that these questions don’t have universal answers but rather depend on individual values, cultural contexts, and personal relationships with artistic work.

What remains clear is that Brymo’s musical output continues to represent significant artistic achievement. The same creative intelligence that crafted “Theta’s” contemplative journey through human experience continues to produce work worthy of critical attention and aesthetic appreciation. Whether individual listeners can engage with that achievement while navigating their discomfort with his personal conduct represents a choice each must make based on their own ethical frameworks and cultural values.

Perhaps the most honest response to Brymo’s situation is acknowledging that we don’t need definitive answers to continue engaging thoughtfully with these questions. We can appreciate musical innovation while criticizing personal behavior, recognize artistic merit while demanding accountability, and continue wrestling with the complex relationships between creators and their creations.

Three years after “Theta” established Brymo as one of Nigeria’s most thoughtful and innovative musicians, his case serves as a powerful reminder that artistic talent and personal wisdom don’t necessarily coincide. How we choose to navigate that reality—as individual consumers, cultural critics, and members of society—says as much about our own values as it does about the artists we choose to support or condemn.

The loudest track in Brymo’s recent catalog may indeed be his controversial public statements, but his musical work continues to offer complexity, beauty, and cultural insight for those willing to engage with the complicated terrain between artistic appreciation and moral judgment. The challenge lies not in resolving this tension but in learning to live thoughtfully within it.