In a frank discussion that has sent ripples through Nigeria’s entertainment industry, prominent music executive and talent manager Ubi Franklin has lifted the veil on some of the sector’s most contentious practices, including the use of pregnancy clauses in female artists’ contracts.
Speaking on the Culture Sonic podcast, Franklin, who has managed several high-profile acts throughout his career, offered unvarnished insights into how fame transforms artists and the unique challenges facing women in the industry.
Franklin’s observations paint a picture of an industry where success often comes with personal pitfalls. According to the veteran manager, the transition from obscurity to stardom fundamentally alters artists’ behavior patterns, regardless of gender.
“The only artist that can be controlled is the one that has not had a hit,” Franklin stated, suggesting that pre-fame artists are significantly more manageable than their successful counterparts. His comments challenge the conventional narrative that primarily focuses on male artists’ behavioral changes post-success.
The executive’s assertion that female artists also become “promiscuous” after achieving fame represents a rarely discussed aspect of celebrity culture in Nigeria’s conservative society, where such topics are typically avoided in public discourse.
Perhaps most controversial are Franklin’s revelations about pregnancy clauses in female artists’ contracts—a practice that raises significant questions about reproductive rights and gender equality in the workplace.
Franklin defended this approach by framing it within the harsh economic realities of the music business. He revealed that developing an artist can cost upwards of ₦300 million (approximately $200,000), with some investments reaching these figures without generating profit.
“If I’m signing a female artist, I always put it on a contract that for the duration of a contract, you will not get pregnant,” Franklin declared, emphasizing his view of the entertainment industry as “a freaking business” rather than the glamorous lifestyle often portrayed on social media.
The talent manager’s position stems from what he describes as the difficulty female artists face in recovering their careers after childbirth, particularly if they haven’t established a solid foundation beforehand.
Franklin challenged listeners to identify successful female artists in Nigeria who had children early in their careers and successfully returned to prominence. His argument centers on the notion that pregnancy disrupts career momentum at a critical development phase.
“So just imagine that you have an artist who you are investing in as a woman and she gets pregnant, that’s over,” Franklin stated bluntly, highlighting what he sees as the stark reality facing female performers.
Franklin’s comments also shed light on the massive financial commitments required in Nigeria’s music industry. His claim that ₦150 million represents just the starting point for breaking an artist underscores the high-stakes nature of talent development in Africa’s largest music market.
These figures reflect the industry’s evolution from its grassroots origins to a sophisticated entertainment sector that competes globally, particularly with the rise of Afrobeats as an international phenomenon.
Franklin’s revelations arrive at a time when Nigeria’s entertainment industry faces increasing scrutiny over gender equality and workplace practices. While his business-first approach may resonate with investors and industry stakeholders focused on returns, it raises uncomfortable questions about the costs of success for female artists.
The pregnancy clause practice, while potentially legally defensible under Nigerian contract law, mirrors discriminatory practices that have been challenged in other industries worldwide. It highlights the tension between commercial interests and reproductive rights in a sector where image and availability are considered crucial to success.
As Nigeria’s music industry continues its global ascent, Franklin’s candid admissions may force a broader conversation about the hidden costs of stardom and whether current industry practices align with evolving societal values around gender equality and workers’ rights.
The entertainment executive’s comments serve as a stark reminder that behind the glittering facade of celebrity culture lies a complex business ecosystem where creative dreams intersect with harsh commercial realities—and where the price of admission may be higher for some than others.
WHAT YOU SHOULD KNOW
Nigerian music executive Ubi Franklin has exposed controversial industry practices, revealing that he includes pregnancy clauses in female artists’ contracts to protect investments that can reach ₦300 million per artist.
He argues that pregnancy derails careers before they’re established, claiming no Nigerian female artist has successfully returned after early childbirth without a solid career foundation. Franklin also disclosed that both male and female artists find it difficult to manage and remain productive after achieving fame.
