Nigerian singer Olawale Ashimi, popularly known as Brymo, has challenged the dominance of Afrobeats’ biggest stars, arguing that the industry is being held back by its continued focus on established acts rather than reflecting current musical trends.

In a recent interview, Brymo criticised the industry’s fixation on its most celebrated names, suggesting that the popular “Big 3” narrative often used to describe leading Afrobeats stars such as Wizkid, Burna Boy, and Davido has become a tool for gatekeeping success.
According to him, some industry players are unwilling to make room for emerging talents.

“Some artists want to lock down the industry for themselves with the ‘Big 3’ narrative and continue reigning forever,” he said.
The singer further questioned the relevance of some veteran stars in today’s pop landscape, arguing that younger talents are not receiving the recognition they deserve.

“They should shift aside. Right now, Rema should be the biggest pop star in the country without any doubt. All this talk about Wizkid, 2Face, Olamide, Burna Boy. Why? In the pop scene? Wetin dem dey sing? You can plug the radio, but nobody likes your stuff anymore. Move aside, evolve,” he stated.

Brymo’s rise to prominence began when he signed with Chocolate City in 2010. During his stint with the label, he delivered one of the most memorable hooks in Nigerian music history on Ice Prince’s hit single, Oleku.
Despite that early mainstream success, his relationship with Chocolate City was short-lived and marked by creative differences. He eventually left the label, opting for a path that favoured independent, experimental and introspective music over the demands of commercial pop.

Since then, Brymo has released several critically acclaimed albums, including Merchants, Dealers & Slaves, Tabula Rasa and Yellow, further cementing his reputation as an artist committed to artistic integrity.
Throughout his career, Brymo has become known for his candid and often provocative commentary on the music industry. While some fans view his remarks as a necessary critique of industry stagnation, others see them as attacks on fellow artists.

Nevertheless, he has remained consistent in advocating for a music industry that rewards innovation, embraces change, and allows a new generation of artists to take centre stage.