British-Nigerian singer and founder of Marlian Records, Azeez "Naira Marley" Fashola, has finally broken his silence almost three years after the controversial and unresolved death of his signee, Ilerioluwa "Aloba" Mohbad. Naira Marley released a viral documentary on Tuesday night via the record label's official YouTube page, presenting his side of the story and addressing the myriad issues that have surrounded him since Mohbad’s passing. The singer has been at the epicenter of allegations, counter-claims, and "cancel culture" since Mohbad’s death, having previously abstained from public statements despite ongoing controversies, including coroner's rulings, autopsy reports, police investigations, and disputes over royalties.

In the documentary, the 34-year-old artist made several allegations, offering behind-the-scenes insights into Mohbad's life. He accused Mohbad's wife, his fellow signee Zinoleesky, and an unnamed friend—allegedly responsible for introducing the late singer to hard drugs—of complicity. He also discussed Mohbad's parents and the specifics of the singer's short-lived contract with Marlian Records. This move by Naira Marley follows a coroner's inquest that concluded Mohbad died due to medical negligence, recommending the prosecution of the nurse involved. Subsequently, activist Martin "VeryDarkMan (VDM)" Otse conducted his own "investigation," releasing purported WhatsApp chats that implicated various individuals, including actresses Iyabo Ojo and Tonto Dikeh, as well as Dre DMW and Samklef.

Recounting the beginning of their relationship, Marley stated, "I didn't kill him (Mohbad) or bully him." He recalled announcing Mohbad alongside Zinoleesky, C-Black, and others at Marlian Fest in December 2019, believing Mohbad was destined for stardom. Marley also addressed Mohbad's introduction to hard drugs, revealing that on June 7, 2020, he first learned of Mohbad using a substance called "Ice," which he later discovered to be Crack. While not angry, Marley advised Mohbad about the dangers, with Mohbad explaining he started taking it with a "crackhead friend" due to stress. Marley maintained he could only advise his signees and that there was no "bad blood" between them over this issue.

The documentary further delved into a bank account dispute. On November 10, 2020, Mohbad allegedly sent Marley an account under the name Adesanya Justina Olajumoke, initially claiming it was his, then his mother's, whose name is Abosede. Marley suspected a link to Mohbad’s wife, Wunmi's family, and eventually, Wunmi admitted involvement. Mohbad subsequently began using his own account, Aloba Promise, for payments. Marley also revisited the February 2022 NDLEA raid on Marlian House, stating he was in Sweden when Zinoleesky, Subomi, and others were arrested, and Mohbad was also taken after a scuffle. Mohbad later went live under duress, accusing Marley, Wunmi, and Zinoleesky of endangering his life. Upon his return, Marley claimed to have paid Mohbad's hospital bills and CT scan, despite not fully understanding the events. Despite this, Mohbad remained with Marlian Music, releasing "Ronaldo" and "Peace" in 2022.

Following the NDLEA incident on February 24, Mohbad moved out of Marlian House into his own apartment but maintained contact with Marley. Marley recounted trying to get Mohbad help, paying for scans and medications, and meeting with him in March 2022. Marley alleged that Mohbad attempted suicide on March 27, 2022, while Marley was in Puerto Rico. Upon receiving calls about Mohbad trying to jump from a window, Marley spoke to him, urging him not to take his own life and reminding him of a prior video where Mohbad had stated Marley should be held accountable if he died. Mohbad apologized, and Marley dispatched Zinoleesky and others, including Mohbad's father, to be with him. After this, Mohbad reportedly attended the Marlian Day celebration on May 30, performing a featured song, indicating a reconciliation and seemingly resolving earlier issues with Zinoleesky.

A significant point of contention discussed was Mohbad's managerial dispute and fallout with Tunde in October 2022. Marley explained that Mohbad had chosen Tunde as his manager. However, a quarrel ensued where Mohbad insulted Tunde and later confronted him at the studio while intoxicated. A fight broke out, which Marley claims he stopped. Shortly after, tweets emerged accusing Marlian Records of attacking Mohbad, which Marley believes were typed by someone else, as Mohbad knew Tunde was not related to Marley. Marley detailed how Mohbad insisted on handling payments himself, citing Tunde's inaction, but Marley advised him to find a new manager rather than manage himself. The argument escalated, culminating in the physical altercation that Marley intervened in. The next day, October 7, 2022, Marley received a contract termination letter from Mohbad's lawyer, along with a request for payment logs. Marley asserted he had nothing to hide and sent the logs, choosing not to pursue Mohbad despite the artist withdrawing $72,000 from a DSP partner, stating he let him go despite his investment.

Marley insisted he was not in Nigeria when Mohbad died on September 12, 2023, stating he was in Europe with Zinoleesky after visiting his children in Amsterdam. He learned of Mohbad's death there, initially dismissing it as a rumor, until Instablog reports surfaced attributing the death to an ear infection. Immediately, fingers pointed at Marley, with old videos, including the fight with Tunde, resurfacing online. Regarding royalties, Marley pledged that Mohbad's earnings remain untouched and will be handed over to whoever the court or his family appoints, confirming no money has been touched since Mohbad's passing. Through the documentary, Marley sought to portray himself as a supportive mentor unjustly accused in the wake of Mohbad's tragic death, yet his fresh claims against Mohbad's wife, friends, and associates indicate the controversy surrounding the late singer's demise is far from settled.

Mohbad's death in September 2023 profoundly impacted Nigeria, becoming an incident etched in public memory. The initial report from Instablog9ja, citing an ear infection as the cause, quickly gave way to a wave of outrage when videos and voice notes surfaced, suggesting the singer had suffered bullying and oppression from his former label head, Naira Marley, and associate Sam Larry. Social media rapidly transformed into a de facto courtroom, where the public mob declared its verdict: Naira Marley was guilty. This immediate condemnation led to the "Marlian king" losing his goodwill; radio stations banned his songs, fans unfollowed him en masse, and a digital manhunt ensued, cementing his image as the face of exploitation in the music industry, even as he faced an internet fraud trial with the EFCC.

This phenomenon, known as cancel culture, is characterized by boycotts, shunning, or public criticism, often amplified by social media. While globally observed with figures like Bill Cosby or P. Diddy, cancel culture in Nigeria is uniquely ruthless, vile, and often permanent, capable of wrecking careers overnight without avenue for appeal. Unlike in other climes, it extends beyond Twitter hashtags, fueled by WhatsApp group chats and gossip blogs. This intensity is magnified by a deep-seated distrust in institutions, a hunger for swift justice, and a propensity for irrational and emotional decisions, leading to instant verdicts that can destroy careers long before facts are firmly established.

Naira Marley became an easy target for this social media mob justice. Online narratives, leaked videos, and trending hashtags seemingly indicted him, painting him as the ultimate oppressor, leading him to reportedly flee for his safety. The public outcry saw social media commentators, including VDM, Iyabo Ojo, and Tonto Dikeh, spearhead the "justice" campaign. Offline, his songs were blacklisted by radio stations and DJs, and even international show promoters dropped him. His reputation was severely damaged before any formal investigation concluded, exemplified by Agidigbo FM's initial ban and subsequent reversal of his songs, highlighting how public rage often dictates outcomes before official findings.

The dangers of cancel culture are particularly acute in a society with weak judiciary and distrust in its systems. When police and courts are perceived as ineffective, outrage becomes a substitute for "justice." The disparities in how public figures versus ordinary citizens are treated for similar offenses, such as the cases of Fuji legend KWAM 1 and Comfort Emmanson, underscore how status often determines who faces scrutiny. Nigerian cancel culture also thrives on moral signaling, where individuals publicly condemn "evil" while potentially perpetuating similar injustices, as seen when employers owing salaries or politicians with corruption scandals joined the "Justice for Mohbad" movement. Ultimately, Mohbad's death became a canvas for broader societal frustrations with government and institutions, allowing victims of bullying and exploitation to vocalize their struggles. While media highlighted issues like record label exploitation and weak copyright laws, the collective outrage was often narrowly channeled into canceling one individual, failing to address the systemic rot.

To better manage cancel culture, there is a crucial need for a more literate and discerning populace that demands facts over gossip and scandal, challenging Nigeria's intellectual fabric weakened by an obsession with outrageous headlines, conspiracy theories, and echo chambers of half-truths, further complicated by AI-driven misinformation. Outrage, while powerful in the moment, is not a substitute for accountability or real justice. The media, as the fourth estate, must exercise greater responsibility, avoiding amplification of mob verdicts without context or verification, which fuels hysteria and erodes public trust. Journalists and editors have a duty to provide balance, nuance, and perspective, preventing the media from becoming a megaphone for mob rule rather than a safeguard for accountability.

Naira Marley's documentary demonstrates that silence can significantly harm a brand, while outrage flourishes. His decision to speak out has split public opinion, with some expressing regret for their earlier condemnation, while others view it as damage control. The clear lesson is that cancel culture punishes swiftly but rarely delivers closure or the desired justice and accountability. Furthermore, the entertainment industry itself must establish robust structures for accountability, including proper unions, mediation boards, and welfare protections for artists. Many issues fueling public outrage, such as exploitation, unfair contracts, and bullying, could be resolved internally if strong systems were in place, preventing public anger from filling the vacuum left by weak regulation and justice. Finally, artists and creatives must recognize the immense power of public opinion. Crisis-proofing their brands, being judicious about associations, and responding with transparency and empathy during controversies are no longer optional. In a cancel-prone industry, silence or a misstep can be misconstrued as guilt, leading to careers being shattered in a matter of days.