Nigerian music executive Ubi Franklin has weighed in on one of the most debated topics in contemporary African music: whether the continent’s biggest Afrobeats stars could ever work together on a project.
In a candid interview on the Afropolitan podcast, Franklin offered his perspective on the dynamics between Wizkid, Davido, and Burna Boy—the trio universally recognized as Afrobeats’ “Big 3″—suggesting that their very success makes meaningful collaboration unlikely.
Franklin, who has worked closely with several top-tier African artists and serves as a talent manager for Davido, painted a picture of an industry where commercial competition has created invisible barriers between the superstars, despite what he characterizes as a lack of genuine animosity.
“It would be difficult for Wizkid, Davido, and Burna Boy to come together,” Franklin stated during the podcast appearance. “I will speak for Davido; I have never heard him for once say something ill about Wizkid or Burna Boy. And I’m sure it’s the same for them.”
The executive’s assessment challenges the popular narrative of heated personal rivalries between the artists, instead framing their relationship through the lens of market dynamics. Franklin drew parallels to Nigeria’s banking sector to illustrate his point, noting that “it’s like the rivalry between the top banks in Nigeria. In every industry, there is the big 3.”
This comparison reveals Franklin’s view that the apparent tension between these Afrobeats giants stems more from structural industry competition than personal discord. The three artists have dominated the global Afrobeats landscape for over a decade, each commanding massive followings and securing lucrative international deals that have helped bring African music to mainstream Western audiences.
Franklin’s insider perspective carries particular weight given his proximity to one of the artists in question. As someone within Davido’s inner circle, his assertion that he has “never heard” negative commentary about the other stars suggests that public perceptions of bitter feuds may be overstated.
The music executive emphasized that any competitive tension exists purely within professional bounds, describing it as entertainment rather than genuine hostility. “The beef between the Afrobeats stars isn’t beyond entertainment,” he explained, indicating that public displays of rivalry may serve more as marketing theater than authentic conflict.
This revelation offers insight into the complex ecosystem of contemporary African music, where global success has raised the stakes considerably. Each of the three artists has achieved remarkable international recognition: Wizkid became the first African artist to sell out Madison Square Garden, Burna Boy won a Grammy Award for Best Global Music Album, and Davido has consistently topped charts across multiple continents.
Franklin’s comments also highlight the challenges facing Africa’s music industry as it experiences unprecedented global growth. The competitive pressures that come with international success may paradoxically make it harder for African artists to collaborate, despite the potential benefits such partnerships could bring to the continent’s cultural influence worldwide.
The executive’s analysis suggests that while personal relationships between these superstars may be cordial behind closed doors, the commercial realities of their positions make joint projects increasingly complex to navigate. Each artist has built a distinct brand identity and cultivated a separate fan base that views collaboration through the lens of competition rather than celebration.
As Afrobeats continues its global ascension, Franklin’s observations raise questions about whether the genre’s biggest stars can overcome market-driven divisions to create the kind of collaborative projects that could further elevate African music on the world stage.
WHAT YOU SHOULD KNOW
Music executive Ubi Franklin reveals that Afrobeats’ “Big 3″—Wizkid, Davido, and Burna Boy—are unlikely to collaborate, not because of personal beef but due to industry competition.
Despite having no genuine animosity toward each other, their positions as market rivals make working together professionally difficult, similar to how top banks compete.
The perceived feuds are largely entertainment-driven rather than real conflict, but commercial pressures from their global success create barriers to potential partnerships that could further elevate African music worldwide.
