The political dust may be settling in Osun State following the gubernatorial election, but a new cultural war has erupted online, pitting the sheer force of Afrobeat pop culture against the combative, “fight-everyone” brand of activism represented by Omoyele Sowore.
The feud reached a boiling point when international music superstar David Adeleke, popularly known as Davido, launched a scathing attack on the presidential candidate of the African Action Congress (AAC), calling him a “useless man.”
The outburst has set social media ablaze, with analysts viewing it as a moment where the soft power of Nigeria’s music industry effectively dismantled the self-acclaimed moral superiority of veteran activists.
The bad blood stems from the high-stakes Osun State governorship election. Davido, who was the chief cheerleader and mobilization force behind the victory of his uncle, Governor Ademola Adeleke, took offense at Sowore’s persistent criticism of the Adeleke family and the democratic process that brought them to power.
Sowore, known for his self acclaimed righteous crusade against both the ruling APC and the oppositions political parties , had cast doubts on the capacity of the Adeleke dynasty. However, Davido’s response was swift and unfiltered.
By declaring Sowore “useless,” Davido did not just insult the activist; he targeted the very utility of Sowore’s brand of politics. To the camp of the victors, while Sowore sits in Abuja and New York writing theories and fighting everyone, Davido and the Adelekes were on the ground in Osun, physically registering voters, distributing aid, and mobilizing the youth.
Afrobeat Destroys the “Self-Righteous”
For years, figures like Sowore have positioned themselves as the sole custodians of Nigerian morality, fighting the establishment at every turn. However, the Osun election proved that the youth of Nigeria are increasingly weary of endless anger and protest. Instead, they rallied behind the joy, rhythm, and hope represented by Afrobeat.
Davido’s intervention in the Osun election showed the supremacy of cultural influence over bitter political rhetoric. While Sowore attempted to play the righteous reformer, Davido’s star power energized the electorate, turning the election into a festival of youth participation.
Commentators are now noting that Davido’s “useless” tag on Sowore reflects a growing sentiment: that “revolutionary” activism which yields no practical electoral victories is ultimately redundant.
The clash highlights a major shift in Nigerian politics. The era where activists could dictate the moral direction of the youth is fading. Today, the curators of youth culture—the Afrobeat stars—hold the real power of mobilization.
By dismissing Sowore so publicly, Davido has sent a clear message: in the real world of political organization and regional loyalty, academic anger cannot compete with the tangible influence of music, charity, and community connection.
As the new administration takes root in Osun, the verdict from the streets seems clear—righteous anger has lost its rhythm, and Afrobeat has taken the crown.
