Qing Madi Accuses Ex-Label Boss of Forgery and Theft

Qing Madi’s fight with her former record label has moved from the courtroom to the timeline.

According to the original report, the Nigerian Afrobeats singer has accused Joy Tongo, CEO of JTon Music, of forging her signature, stealing from her and trying to damage her career.

The drama intensified after several songs from Qing Madi’s new album, Barely Legal, were reportedly removed from streaming platforms over an alleged contract dispute.

During a recent TikTok livestream, the American Love singer claimed her former label had been working behind the scenes to frustrate her music rollout.

Qing Madi alleged that Tongo previously sued her for $2 million and lost. She also claimed her song Pepper Me was taken down before her team proved the removal was illegal.

The singer said the latest takedowns were another attempt to interfere with her project, adding that she was tired of the back-and-forth with her former label.

She also called on fans to speak up, framing the dispute as more than just industry politics. For Qing Madi, it is about protecting her work, her name and her freedom as an artist.

Joy Tongo has denied the allegations. In a post shared on Instagram, she described Qing Madi’s claims as false and rejected the accusations of forgery and theft.

Tongo also disputed the singer’s claim that the case had already been won, saying the matter was still before the court and had not gone to trial.

She added that an injunction connected to the case allows the label to issue legal takedowns against Qing Madi’s songs or projects.

The public clash has now opened a bigger conversation about young African artists, record label contracts and the power struggles that often happen behind the scenes.

For Qing Madi, Barely Legal was meant to be a major career moment. Instead, the album rollout is now tied to a legal and public battle that could shape how fans understand her journey from rising star to independent voice.

As both sides continue to trade claims, one thing is clear: this is no longer just a private label dispute. It has become a public test of ownership, control and survival in Nigeria’s fast-moving Afrobeats industry