In the vibrant and often contentious world of music, where artists wield their lyrics as both a mirror and a megaphone for societal truths, a stark double standard has emerged. Female artists like Cardi B, SZA, and GloRilla are celebrated for their provocative, sometimes misandrist lyrics, while male artists like Nigerian rapper Odumodublvck face intense scrutiny for addressing real societal dynamics in their music. This hypocrisy, particularly evident in the backlash against Odumodublvck’s nominations at the 2025 Headies Awards, raises critical questions about fairness, artistic freedom, and the complex interplay of gender dynamics in modern society. If women have turned men into proverbial ATM machines through transactional relationships, do they have the right to dictate the “transaction fees” these machines charge in the form of lyrical expression?
The Double Standard: Celebrating Misandry, Condemning Reality
On April 24, 2025, an X user, @OloriOfOloris, posted a scathing critique of the Headies Awards for nominating Odumodublvck, an artist with 8 nominations, accusing him of promoting misogyny and slut-shaming through his music. The criticism centers on lyrics from his feature on Shallipopi’s 2023 hit “Cast,” where he rapped, “If she no f–k o, if she no s–k / Who go pay for her wig and handbag?” These lines, while crude, reflect a reality in Nigerian society and beyond: transactional relationships where material support is exchanged for intimacy, a dynamic amplified by economic disparities and platforms like OnlyFans.
Yet, the same voices decrying Odumodublvck often remain silent—or even celebratory—when female artists engage in misandrist themes. Cardi B, for instance, has built a career on unapologetic lyrics that often belittle men. In her 2022 collaboration “Tomorrow 2” with GloRilla, Cardi raps about financial dominance over men, a theme echoed in much of her discography. SZA’s “Kill Bill,” a Grammy-nominated hit, fantasizes about murdering an ex-lover, a violent premise that garnered little backlash. GloRilla, Cardi’s biological niece as revealed in 2024, often mirrors this energy, with songs that mock men’s financial struggles or emotional vulnerability. As @iam_lexie_b replied to @OloriOfOloris, “But y’all can praise Cardi for broke shaming boys una yeye dey smell,” highlighting the hypocrisy of celebrating female artists for misandry while condemning Odumodublvck for reflecting societal truths.
This double standard isn’t just a matter of lyrical content—it’s a reflection of broader societal biases. A piece from The Wildcat Tribune notes that while both misogyny and misandry in music are problematic, misogyny is often “regarded as more acceptable,” leading to harsher criticism of male artists. However, the pendulum swings both ways: when female artists like Ashnikko face backlash for misandrist lyrics (e.g., her song “STUPID,” which asserts independence from men), the outrage is often fleeting compared to the sustained campaigns against male artists. SZA and Cardi B have headlined major festivals like Rolling Loud Thailand in 2023 and been surprise performers at each other’s tours, as documented in a Wikipedia entry, with little pushback for their controversial lyrics. Meanwhile, Odumodublvck’s Headies nominations are framed as a moral failing by the awards body, with @OloriOfOloris asking, “What kind of organization continues to reward and nominate an artist whose music focuses on slut-shaming women and promoting extreme misogyny?”
Transactional Relationships: A Reality Odumodublvck Reflects
Odumodublvck’s lyrics in “Cast” don’t exist in a vacuum—they document a societal dynamic that is both real and pervasive. In Nigeria, economic inequalities have long fueled transactional relationships, where women, often facing systemic barriers to financial independence, exchange companionship or intimacy for material support. This isn’t unique to Nigeria; globally, platforms like OnlyFans have made such dynamics more visible. A Forbes article from 2023 notes that OnlyFans, while empowering for some creators, has also been criticized for promoting objectification and contributing to mental health issues like anxiety, reflecting the complex impact of these platforms on society.
Odumodublvck’s lyrics hold a mirror to this reality, capturing the frustration and observations of men who see women leveraging their sexuality for material gain. If women have turned men into “ATM machines” by engaging in these transactional relationships—whether through dating for money and trinkets or monetizing content on OnlyFans—do they have the right to dictate how these men express their experiences? The metaphor of “transaction fees” is apt: just as women set the terms of these exchanges by participating in them, men like Odumodublvck should be free to set their own terms in the form of artistic expression, reflecting the cost of navigating such dynamics.
The Purpose of Music: Documenting Societal Truths
Music has always been a medium for documenting societal issues, from Fela Kuti’s critiques of Nigerian corruption to N.W.A.’s raw depictions of police brutality. Odumodublvck is part of this tradition, using his music to reflect the world he sees. His lyrics in “Cast” aren’t an endorsement of transactional relationships but a commentary on their prevalence, particularly in urban centers like Lagos, where economic pressures and social media culture amplify such dynamics. As @Kubani001 replied to @OloriOfOloris, “His music does not focus on this thing you just alleged,” suggesting that the criticism may be overblown compared to the broader themes in his discography.
The backlash against Odumodublvck risks stifling his artistic freedom. If music is meant to provoke thought and conversation, then his lyrics are doing their job, even if they make some listeners uncomfortable. The discomfort felt by critics like @OloriOfOloris may stem from the harsh truth of his observations rather than any malicious intent. After all, art should reflect reality, not sanitize it. Odumodublvck’s defenders, like @Fwdeyvid (“Abeggy!!! Make una rest”), argue that the criticism is overblown, and his music should be seen as a reflection of lived experience rather than a call to harm.
Systemic Issues in the Nigerian Music Industry
The controversy also highlights systemic issues in the Nigerian music industry, particularly its treatment of gender dynamics. A 2023 article from Republic reveals the Headies’ historical bias against women, with female categories often unannounced on stage and women averaging only one-sixth of nominations. This sidelining of female artists reflects a broader misogyny in the industry, which may contribute to the heightened scrutiny of male artists like Odumodublvck. However, this systemic bias doesn’t justify the hypocrisy of celebrating misandrist lyrics from female artists while condemning male artists for addressing real societal issues. If the industry tolerates Cardi B’s “broke shaming” of men or SZA’s violent fantasies in “Kill Bill,” as @V713N pointed out, then Odumodublvck’s reflections on transactional relationships should be afforded the same artistic license.
A Broader Cultural Reflection
The controversy surrounding Odumodublvck also mirrors broader cultural tensions around gender and power. In Nigeria, as a Britannica article notes, women have historically played major roles in social and economic activities, yet their contributions are often undermined by an image of helplessness and oppression. The rise of transactional relationships, whether through dating or platforms like OnlyFans, can be seen as a response to these systemic barriers—a way for women to reclaim financial agency in a patriarchal society. Odumodublvck’s lyrics reflect this reality, capturing the frustration of men who feel reduced to providers in these dynamics.
At the same time, female artists like Cardi B, SZA, and GloRilla use their music to assert dominance over men, often in ways that belittle or objectify them. This is celebrated as empowerment, yet when a male artist like Odumodublvck addresses the flip side of these gender dynamics, he is vilified. This double standard undermines the principle of artistic freedom and ignores the shared responsibility of all artists—male and female—to reflect society thoughtfully.
Let Artists Speak Their Truth
Odumodublvck’s music is a raw, unfiltered reflection of the world he inhabits—a world where transactional relationships are a reality, shaped by economic disparities and cultural shifts. His lyrics, while provocative, are not an attack on women but a commentary on societal dynamics that many would rather ignore. The hypocrisy of celebrating female artists like Cardi B, SZA, and GloRilla for their misandrist themes while condemning Odumodublvck for addressing real issues is a disservice to the purpose of music as a medium for truth-telling.
If women have turned men into “ATM machines” through transactional relationships, they cannot then dictate the “transaction fees” these men charge in the form of lyrical expression. Odumodublvck, like any artist, deserves the freedom to speak his truth without fear of censorship or disproportionate backlash. The Nigerian music industry, and society at large, must confront its double standards and allow all artists—male and female—to document the world as they see it, even when that reflection is uncomfortable. Only then can music fulfill its true purpose: to provoke, to reflect, and to inspire change.
