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Afrobeats singer, David Adeleke, popularly known as Davido, has said he will seek the intervention of United States President Donald Trump if anything goes wrong during the forthcoming Osun State governorship election.

The singer made the statement during a livestream hosted by content creator Carter Efe, where he discussed his interest in politics and his concerns about the conduct of elections in Nigeria.

Davido said he would consider joining politics when he is convinced that the country’s electoral system is transparent and allows voters to freely choose their leaders.

According to him, he is confident of emerging victorious in an election that is conducted fairly.

He said the lack of transparency remains one of the reasons he has not ventured into politics despite his interest.

‘Until there’s transparency, then I can go ahead with politics because nobody can beat me in any election,’ he said.

Davido added that he would be confident of winning if Nigerians were allowed to vote freely and have their votes properly counted.

He also expressed concern about the upcoming Osun governorship election, saying he was waiting to see how the exercise would be conducted.

‘I want to see what they are going to do in Osun. We are waiting,’ he said.

The singer then disclosed that he would reach out to Trump if he became dissatisfied with the electoral process in Osun.

Davido said he would tag and call the US president and, if necessary, take his concerns to the White House.

‘I’ll tag Trump, I’ll call Trump, everybody. If they still don’t see anything, I’ll go in front of the White House and say, ‘Help us,”

‘Trump will just say, ‘I think there’s a Nigerian artiste sending me a message. Don’t worry, my message will be delivered.’he said.

He stressed that his threat should not be dismissed as a joke, adding that he expected his concerns to reach the US president.

Davido concluded by calling on those involved in the electoral process to allow the people of Osun State to freely determine their next governor.

‘Leave Osun alone oo, leave it,’ he said.

Twenty-five years ago this July, a single dress changed the way the world searches. When Jennifer Lopez wore her green Versace gown to the 2000 Grammy Awards, millions of people went online looking for it, only to find that a page of blue text links could not show them what they wanted to see. Google Images launched in July 2001 in response. The lesson was simple: human curiosity is visual, and technology has to meet people where their curiosity lives.

That insight has travelled far in twenty-five years. First we could search for pictures with words. Then a picture itself could become the query. Then the phone camera became a way of asking questions about the world, and today a shopper can circle an item on their screen, or point a camera at it on the street, and get an answer in seconds. People no longer translate what they see into approximate keywords and hope for the best. They show the search engine what they mean, and increasingly they say it in their own languages, with AI-powered search now available in thirteen African languages, including Yorùbá, Hausa and Kiswahili, serving more than 100 million people across Sub-Saharan Africa.

For African business leaders, this is not an abstract technology story. Around one in four visual searches globally is commercial: someone trying to identify, compare or buy something they have just seen. Our continent’s consumers are moving faster than most. In Nigeria alone, YouTube watch time has grown more than 55 percent year on year, and eight in ten Nigerians say they are optimistic about AI, with the same share already using AI tools to explore business opportunities, nearly double the global average. Picture a guest at a wedding in Lagos or Nairobi spotting sneakers that blend streetwear with traditional fabric. She lifts her phone, circles the image, and is looking at the designer and a link to buy before the next speech begins. If your product is not in that result, someone else’s is.

So the question I hear most often from marketing leaders across the continent is not whether this shift is real. It is: what exactly do I do about it on Monday morning? Here is the playbook I would run over ninety days, in three phases. None of it requires a multinational budget, and none of it requires your team to master a long list of tools before starting. It requires a change in how you think about being found.

Phase one, be findable: Days 1 to 30

Start with a test anyone can run before lunch. Take out a phone, open any visual search tool, and point the camera at your five best-selling products. What comes back? If the answer is a competitor, a reseller you do not control, or nothing at all, you have found your most urgent gap, and it is entirely fixable.

The work of this first month is unglamorous but decisive. Get your full catalogue properly photographed and digitised, and load it into a structured product feed, the standard format that allows search engines to recognise your items and connect them to the people photographing similar things in the real world. Give the job to one named owner rather than a committee, and keep the success measure binary: by day 30, every product you sell should be recognisable to a camera. This single piece of housekeeping determines whether you exist in the fastest-growing discovery channel on the continent.

Phase two, be present across the journey: Days 31 to 60

The second phase is about how you spend. For two decades, digital marketing meant guessing the exact words a customer might type and bidding on them. That model is breaking down, because customers increasingly do not type at all. They watch, photograph, circle and ask follow-up questions aloud.

You do not need to memorise product names to act on this. What matters is understanding that modern campaigns have three jobs, and AI now coordinates them. The first job is building demand early, placing image-led and video-led creative in the feeds where younger audiences form preferences long before they search. The second is capturing demand at the moment of intent, when someone actively looks for what you sell.

The third is connecting the two, which is where AI systems now do the heavy lifting, reading signals in real time and moving budget toward the people most likely to buy rather than the people who happened to type a particular phrase. In Google’s ecosystem, tools like Demand Gen and Performance Max do this work, but the principle matters more than any product: run the three jobs as one system, not as separate line items.

Two discipline rules make the phase work. Measure the value of conversions, not clicks, so the system has a true target to aim at. And stop judging each channel in isolation, because the layers are designed to feed each other. By day 60, you should see your cost per customer falling.

Phase three, multiply your creative: Days 61 to 90

The third phase tackles the constraint that quietly stalls most African campaigns: creative production. Producing enough good visual material, in enough variations, for enough audiences, has always been the privilege of big budgets.

That is changing. At Cannes Lions, the advertising industry’s largest global festival, held every June in the south of France, the defining theme this year was AI’s evolution from analytical tool to hands-on creative partner. One demonstration made the point vividly: Google DeepMind and the Google Creative Lab recreated Pelé’s legendary unrecorded 1959 goal, a moment no camera ever captured, using archival photographs and generative modelling.

For your team, the same underlying capability is far more practical. Generative tools can now turn a handful of core campaign assets into hundreds of variations tailored to different audiences. AI video models, which we have tested with filmmakers in Lagos, put near-cinematic quality within reach of a startup budget. And AI can answer plain-language questions about creator partnerships, such as which creators in Accra or Kampala reach audiences that care about sustainable fashion, and return a shortlist in minutes rather than weeks. The brief to your agency should change accordingly: less manual resizing and versioning, more strategy and storytelling, which is where their value has always been.

The takeaway

If you retain one thing from this piece, retain the sequence. Be findable, so the camera can see you. Be present across the journey, so intent finds you wherever it forms. Multiply your creative, so you can meet that intent at scale. Each phase compounds the one before it, and the whole playbook fits on a single page.

That accessibility is the real story for Africa. This continent’s economies run on small and medium enterprises, and for the first time the tools of sophisticated marketing are not gated by scale. A designer in Accra, a founder in Nairobi and an artisan in Ibadan can now run substantially the same playbook as a multinational. The businesses that will define the next twenty-five years here will not necessarily be the largest. They will be the ones that acted early.

Twenty-five years ago, a green dress taught the world’s biggest search engine that text was not enough. The sequel to that lesson is unfolding across Africa right now. Your customers are already searching with their cameras and their voices, in their own languages, guided by AI. The only question is whether, ninety days from now, they will find you.

Singer Paul Okoye, popularly known as Rudeboy, has reacted after his twin brother, Peter Okoye, also known as Mr P, alleged that their late mother, Josephine Okoye, mistreated his wife, Lola, during a family meeting years ago.

Rudeboy shared a brief message on his X account on Friday, a day after Mr P made the allegations in the latest episode of his ongoing video series detailing the prolonged feud within the Okoye family.

‘Unfortunately, you’re not here to defend yourself. Continue resting, Mum.’

Mr P made the claims in the eighth episode of his tell-all series released on Thursday, where he recounted events surrounding a family meeting held at his Omole residence shortly after the birth of his son.

According to him, his late mother, alongside his brothers, Jude, Paul and Tony, as well as some pastors, confronted him and his wife over their relationship.

He said, ‘When we moved into Omole, our mom came to visit. My son was about five or six months old. When my mom visited, I gave her the master bedroom and moved into Jude’s room. I was expecting my mom to ask, ‘How is your new baby?’ My mom didn’t ask. She just said, ‘How is Lola? I hope she’s fine.’ She said, ‘Can you tell her to come?’ I said, ‘Okay, do you want to see the baby?’ She said, ‘No. Let her come first.’

‘Then Lola was living on the Island. How do you expect me to tell Lola my mom wanted to see her and ask her not to come with the baby? I had to lie to Lola not to come with the baby because we had fumigated the house.’

Mr P said that after Lola arrived at the house, both of them were ushered into the master bedroom, where the family meeting was already underway.

He alleged that neither he nor his wife was offered a seat during the gathering.

‘Everybody was seated… I went to call Lola. When she entered the room, nobody stood up or said, ‘Lola, sit down.’ Nobody even bothered to welcome her properly. Lola and I just sat on the floor.’

Mr P alleged that their mother then told his wife, ‘Young woman, we the Okoye family have decided that you should leave our son alone.’

He continued, ‘I said, ‘What is going on?’ A few days earlier, Lola and I had had a small quarrel, so she looked at me thinking maybe I had planned this to evict the relationship. She said, ‘Babe, what’s going on?’ I asked my mum the same thing. Next thing, Jude said, ‘Leave our brother alone.’ I looked at Jude’s face.’

The singer further claimed that Jude later picked up a photograph of his infant son and made a derogatory remark in Igbo, which Lola understood to mean the child was a ‘bastard.’

‘Lola started crying. The pastors tried to calm her. They pushed Lola out of the house,’ he alleged.

Mr P also alleged that before the confrontation, Jude and Rudeboy opposed Lola’s pregnancy and circulated an anonymous email questioning the paternity of his unborn son.

‘Nothing that Jude and Paul didn’t do for Lola to take that pregnancy out,’ he alleged.

He further claimed that their late mother later acknowledged that the child was his biological son and instructed his brothers to apologise, but said the apology never came before her death.

Mr P also dismissed claims that Lola had a poor relationship with his late mother, insisting they remained close until her passing.

‘When my mom was sick… Lola stayed with her in the hospital till midnight and took the pastors back home every day for over two months,’ he said.

The singer also claimed that before her death, their mother asked Paul and their elder brother, Jude, to apologise to him, but they never did.