Nigerian Fuji star Saheed Osupa has come under scrutiny after a video surfaced showing him openly admitting to using juju (voodoo) during a live performance.
The statement, made casually on stage at a public event, quickly drew attention after clips began circulating online, sparking widespread reactions across social media.
In the video, the veteran singer appeared to speak candidly about his beliefs. His honesty has since triggered a wave of criticism and debate, particularly around religion and traditional practices in Nigeria.
The development has placed Osupa at the centre of a growing conversation that extends beyond entertainment, touching on issues of faith, culture and public image.
The Moment That Started It
The remarks were made during a live performance by Saheed Osupa at the 52nd birthday celebration of Nollywood actor Fatai Odua, popularly known as Lalude, on March 30, 2026.
According to widely circulated video clips from the event, the Fuji singer addressed his backup performers while on stage. He advised them to adopt traditional charms to improve their stage performance and aid their memory.
During the same exchange, Osupa stated that he uses juju for personal progress and declined suggestions that he should publicly deny such practices, insisting he had done nothing wrong by it. In his words:
“Somebody told me one time to grant an interview denying that I’m a fetish person, but I told him that I am. I didn’t kill anyone with my juju or commit evil. I am only looking for how to progress. Nothing more.”
“That’s why anytime I wake, I always pay obeisance to my Ifa. I don’t know the deity beyond it, because it is worth paying homage to. Everybody practises voodoo. While some hide behind the scenes, I do mine in the open. All those talks that I rely solely on the Bible and Quran are pure lies.”
“If I don’t engage in voodoo, what else should I have employed? Is it Phensic or Panadol that will make me successful? It is not good to be poor and still not live a good life. Even if one is not enormously rich but should enjoy comfort.”
Not a New Practice — Just Rarely Admitted
While the reaction to Saheed Osupa’s comments has been swift, the practice he referenced is neither new nor isolated within Nigeria’s cultural and entertainment landscape.
Traditional religion, including Ifa and other indigenous belief systems, has long existed alongside Christianity and Islam, forming a core part of Yoruba religious and cultural identity rather than an outlier practice. These systems have historically influenced social life, music and performance traditions across southwestern Nigeria.
Within the entertainment industry, particularly in genres like Fuji, which evolved from culturally rooted forms of expression, references to spirituality (both traditional and religious) have often been embedded in performance, language and symbolism.
However, public acknowledgment of direct personal involvement in such practices remains relatively rare. Many artistes have typically framed success in terms of hard work, divine favour or talent, avoiding explicit references to traditional spiritual systems despite their cultural prevalence.
Osupa’s remarks are not new in idea. They stand out because he made a private belief open and personal.
The Backlash: Religion vs Tradition
The reaction to Saheed Osupa’s comments was immediate, with criticism emerging largely from religious circles, particularly among Islamic clerics and followers as the Fuji maestro is believed to be a Muslim.
Several clerics publicly rejected his stance, arguing that attributing success to traditional spiritual practices contradicts core religious teachings and could mislead fans who look up to him.
Some also questioned the influence of public figures in shaping belief systems, stressing that celebrities with large followings carry a responsibility in how they frame issues of faith and success.
Beyond clerical responses, the debate extended across social media, where opinions were sharply divided. While some netizens criticised the admission as inappropriate or controversial, others defended it as a reflection of personal belief and cultural identity.
Osupa, however, did not retract his statement. In responding to critics, he maintained that he respects both Christianity and Islam, while insisting his personal practices do not negate those beliefs.
Conclusion
The reactions may fade, but the question remains. By saying it openly, Saheed Osupa has pushed a conversation many avoid into the spotlight.
Whether criticised or defended, his words have done what few in the industry manage to do: force a closer look at what is said in public, and what is left unsaid.
