At his recent wedding, Mr Eazi received a powerful nod from none other than Aliko Dangote, Africa’s richest man. Dangote revealed that the Afropop star–turned–entrepreneur has businesses in 17 countries, a statement that underscores how Mr Eazi has redefined what it means to be a creative in Africa. He isn’t just making music; he’s flipping culture into capital.
From Stage to Strategy
Mr Eazi, born Oluwatosin Ajibade, is best known for hits like Skin Tight and Leg Over. But behind the music is a relentless strategist who sees culture as a business frontier. While many artists monetize fame through endorsements or shows, Mr Eazi built emPawa Africa, a talent incubation platform that has supported over 100 emerging artists across the continent. emPawa isn’t charity—it’s venture building in disguise. By investing in young artists, Mr Eazi gains both equity in their success and cultural capital that compounds over time.
Building a Cross-Border Empire
Dangote’s mention of 17 countries wasn’t hyperbole. Mr Eazi has diversified into technology, fashion, and venture capital. His portfolio stretches from Ghana and Nigeria to Kenya, Rwanda, and as far as the UK. Through Zagadat Capital, his investment vehicle, Mr Eazi has backed startups like PawaPay, a fintech company simplifying mobile payments across Africa. In 2021, PawaPay raised $9 million to scale its cross-border payment infrastructure—proof that Mr Eazi’s bets go beyond beats and into the heart of Africa’s digital economy.
Flipping Culture into Capital
How exactly does culture translate into capital? For Mr Eazi, it’s about leverage. Music gave him reach, but entrepreneurship gave him resilience. His brand opens doors that traditional founders struggle to unlock. A boardroom in London or Nairobi is easier to access when you’re a household name in Lagos. Investors who might ignore another pitch deck listen when the messenger is an Afropop icon with a global fanbase. This “soft power” is Mr Eazi’s moat.
Lessons for African Creators
Mr Eazi’s trajectory signals a shift in how Africa’s creative economy operates. Rather than being mere ambassadors for consumer brands, today’s artists can become the brands. They can incubate startups, set up venture firms, and create infrastructure. In doing so, they capture more value from the industries they power. As streaming revenues plateau, the next frontier for artists is ownership—whether in music catalogs, digital platforms, or consumer-facing products.
The Bigger Picture
Africa’s creative economy is valued at over $50 billion, but artists often capture a fraction of that wealth. Mr Eazi’s model shows that flipping culture into capital isn’t just possible, it’s necessary. By embedding himself in 17 markets, he has hedged against volatility, positioned himself as both investor and innovator, and shown that culture is a scalable asset.
Closing Thought
Aliko Dangote’s recognition was more than a compliment—it was a validation of a new playbook. Mr Eazi is proving that Africa’s creatives don’t have to choose between artistry and enterprise. They can do both, and in doing so, redefine wealth creation for a new generation. For young Africans with global ambitions, the message is clear: your culture is your capital. The question is, how will you flip it?
