Fans wanted to be in the venue before it became dark. Jeriq’s homecoming concert, now an annual event, took place on Sunday, November 24, 2024. Last year, his homecoming concert at Michael Okpara Stadium in Enugu, which drew over 20,000 fans, was a major success.
After a week of work, many took to the streets on foot or by car to make their way to the venue, with most fans hailing from the Southeastern states. A small group from Lagos also made the trip to show their support. The event was held at the Barrister Chuba Ikpeazu Stadium in Onitsha built in 2009 to honor the life of the city’s revered legal figure, Chuba Ikpeazu. The multi-use stadium, which has a 5,000-seat capacity overflowed as it welcomed an overwhelming crowd of more than 20,000 fans, far surpassing its seating capacity.
Fans known as “Iyoo Cartel” started milling into the concert venue as early as 4 PM from the hood or Ogbe as Jeriq named it for his fans. The reasons were not far-fetched. Petty armed robbery has been rife in the city, and fans wanted to be in the venue before it became dark.
The highly anticipated show, scheduled to begin at 6PM, got underway with indigenous artists taking to the stage. The crowd, eagerly awaiting Jeriq’s performance, was kept entertained with light projections and promotional performances, including talent showcases from corporate sponsors. The concert lineup featured some of the biggest names in the industry, including Jeriq’s “evil twin” Psycho YP, his collaborators Bella Shmurda, Odumodublvck, Blaqbonez, Brown Joel, and several others.
When the moment arrived for Jeriq to perform, the stadium lights flared to life, and the 24-year-old artist emerged on stage to a deafening roar from his fans. The energy in the stadium soared as Jeriq kicked off his set with Remember, sending fans on a nostalgic journey. The crowd enthusiastically responded to his cue, singing along to his line “One Kpa,” with “Two Kpa” from his debut album Hood Boy Dreams—the project that first introduced him to the audience who relate to his story.
Jeriq’s Rise And The Power Of Community-building
Anyone who has followed Jeriq’s career since his breakthrough during the pandemic four years ago can easily recognize his impact on the Southeast music scene, where most of his fanbase resides. Jeriq has successfully made trap music more accessible, introducing a genre of hip-hop that was once foreign and complex to many Nigerian listeners. In the beginning, Jeriq’s music was raw and unpolished, lacking the catchy hooks that would typically draw listeners back for more. His style was deeply rooted in drill trap, often rapping in a spoken, almost offbeat manner. Despite its unconventional sound, his music resonated with young listeners, especially across Southern Nigeria, who found his authenticity and rawness easy to connect with. The relatability of the lyrics formed the foundation of Jeriq’s community. Through his songs, his fans felt personally involved in his journey. His debut album, Hood Boy Dreams, was a powerful statement to his audience—young people with a “grass to grace” story, especially from the eastern part of Nigeria. The album’s success was propelled by Jeriq’s authenticity and his message, which struck a chord with his fanbase. This connection grew even stronger during the Enugu Carnival in December 2020, when fans, noticing his absence from the event’s promotional materials, demanded that he perform. Reluctantly, the organizers brought him on stage, and Jeriq seized the moment, delivering an electrifying performance as the crowd rapped along to his songs, word for word.
Through his lyrics, Jeriq has consistently positioned himself as a rapper focused on “chasing the paper” (money), a core theme of hip-hop culture, while also representing the “hood boy” lifestyle—grappling with dreams of escape from hardship. This was the pivotal moment for Hood Boy Dreams, solidifying Jeriq’s place in the scene and making him a key figure in the Iyoo movement, which represents the music scene from the Onitsha hoods.
Jeriq built his community through relatable songs, street slang, discounted concerts and merchandise that made his connection with his fans feel personal and accessible. His music was laced with the type of street language and local slang that resonated deeply with his audience, particularly young people familiar with the hustle and grind of everyday life in the ghettos. Words like “Odogwu,” “Iyoo,” and “Ginger,” common in his music, became signature phrases that helped solidify his identity. Through his relatable storytelling, he painted a vivid picture of the struggle, ambition, and drive that his fans shared, creating a unique bond between him and his listeners.
In addition to the music, Jeriq made a conscious effort to keep his concerts affordable and his merchandise emblazoned with statements like “Chase paper not dreams” within reach for his growing fanbase. By offering discounted concert tickets, he ensured that even fans from less privileged backgrounds could attend his shows, making his performances feel like a shared experience for the community. This accessibility extended to his merchandise as well, where he kept prices reasonable, ensuring that even his most loyal supporters could own a piece of his brand. These actions were not just marketing strategies but a deliberate effort to remain connected to the people who supported him from the very beginning, reinforcing the notion that he was “one of them.”
Jeriq’s music takes listeners on a journey from the slums of Nkpor, where he grew up, to a place of elevation. From this vantage point, he offers insight into the struggles of his community, particularly in Enugu, a city that played a pivotal role in his rise as an artist. His music’s cultural force was amplified by his association with the Iyoo mindset, allowing his message to break through the fractured music infrastructure of Southeastern Nigeria. This region, once home to pioneers of Igbo rap like Mr. Raw, Dekumzy, and highlife legend Flavour, has long struggled with an uncooperative music industry, where local talent often faces neglect from radio stations and record labels.
Though Jeriq was originally signed to KOD Music, his true breakthrough came when he stopped relying on the label to push his music. Over time, he parted ways with KOD to maintain full control of his fast-paced, self-driven career, largely supported by his own financial independence. Leaving a label is a risky move for many artists, but Jeriq’s decision to do so paid off as he had already built a loyal community of fans across platforms like Facebook, Telegram, and WhatsApp. These digital connections became vital in propelling his career forward, helping him navigate the challenges of a region where the odds were stacked against him.
A Workable Templates For Artistes
For the past two decades, a common criticism of musicians from the East has been their failure to create a path for the next generation by offering support, mentorship, or signing record deals that could help emerging talents break into the limelight. This has caused many artists to become overly reliant on the Lagos music industry, which has never been designed to fully support them. In the past, artists like Umu Obiligbo and Zoro relocated to Lagos in an attempt to broaden their reach, but this move has yet to yield significant success for them. While it may be too early to claim that Jeriq has completely broken this cycle, he is undeniably a trailblazer in the East, continuing to fuel his success through the loyal fanbase he has built there. As such, it’s fair to say that he has ignited a cultural shift, showing artists from the East that they don’t have to move to Lagos to achieve fame.
How can up-and-coming artists replicate Jeriq’s success? “It’s not easy, but it’s doable,” says Uche Okoye, media personality and close friend of Jeriq. “Artists from the Southeast need to start by building a community and giving fans a sense of belonging. There’s a large enough young audience in the East that can be converted into a paying fanbase.”
For Jeriq, success has expanded beyond music—he’s also ventured into business. He launched a clothing line, Iyoo Cartel, and recently signed a partnership deal with Puma. Now, on the streets, people aren’t just singing his songs—they’re wearing Iyoo Cartel clothing and face caps while almost singing the lyrics word for word.
Jeriq’s fashion line has become a mainstream brand, not just among fashion-forward individuals across Nigeria but also among stars like Psycho YP, Zlatan, and Oxlade. The success of his clothing brand highlights how he seamlessly integrates his passions beyond music, like fashion, into the culture. His distinctive style is easily recognizable and resonates with the Gen Z fashion sense. His strong brand image has earned him sponsorship deals with Puma and ambassadorial roles with brands like Hero Lager, one of Nigeria’s most popular beer brands.
The 2024 homecoming event will be talked about for months, with fans already anticipating a possible 2025 edition. Jeriq’s Ogbe music has become a movement, inspiring fellow artists and gaining recognition nationwide. For emerging artists who want to follow in his footsteps, universities, polytechnics, and colleges of education offer valuable hotspots to connect with young, eager audiences.
