The easiest thing to do with Siraheem is not listen. Son of Chief Razaq Okoya, billionaire industrialist and founder of the Eleganza Group, he arrived in the Nigerian music industry carrying a last name that preceded every opinion about him. The naira abuse scandal. The bowling centre charges $5,000 membership. The "nepo baby" label that followed him from comment section to comment section. By the time 'Bad Bitch Syndrome' went viral in 2024, the internet had already decided what Siraheem was - a rich kid playing musician, backed by money that made the playing field anything but level.

Then he sat in front of a Glitch Africa microphone and performed 'Iseoluwa', 'Soweto', 'Kowope' and 'Brazil Bounce' without the armour of production, without a crowd to feed off, without anything between the voice and the listener. Eight days later, Twitter is still processing it.

The reactions have a specific texture - not the usual "this is good" but something closer to recalibration. People who had dismissed him are going back to 'By the Order of the City', the debut EP he released May 1, 2026, hearing it differently now that they have heard him sing directly. The performance did not introduce a new Siraheem. It created the conditions for people to actually hear the one that was already there.

This is what Glitch Africa does at its best. The platform strips the music back to its most honest form - no production armour, no engineered atmosphere, just the voice and the song. Asake's 'Baba God' session is the clearest precedent in recent memory - a live performance that revealed something about his vocal control and emotional range that the studio version had almost obscured. Siraheem's session is doing the same kind of work. The surprise in the comment sections is not that he has suddenly become something he wasn't. It is that the version of him that already existed has finally been seen.

‍'Soweto' live is a different thing entirely. The line that opens the EP - "me I'm not from ghetto but na me dey run your ghetto" - lands harder without the beat carrying it. 'Iseoluwa' is the track that does the most work live. The vocal control exists on the studio version but stripped of production it becomes harder to argue with - you hear it differently when there is nothing else to credit. 'Kowope' and 'Brazil Bounce' confirmed that the range across the EP was not a producer's doing. He moves between sounds and stays himself throughout.

The people who decided Siraheem should not be making music have too much invested in that conclusion to let a Glitch Africa session change it entirely. The noise around this man is considerable and it does not dissolve overnight. What the performance did is something more specific - it gave the people who were willing to listen a reason to do so, and it is sending them back to the EP with ears that are no longer filtered through the label that preceded him.

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