Portable Says He Has No Boss. His Deezer Catalogue Has Named Two for Four Years.

Across 164 of Portable’s commercially released tracks tracked on Deezer, two names take turns appearing in the sound-recording credit field: “Zeh Nation” on 77 of them, “MYAIRPLAY” on 43, including both of the songs that made him a star. Neither name is registered with the UK’s company register or listed in the MusicBrainz label index. No contract, filing or press release describing either has ever surfaced. Portable himself has said, on camera, that he has no boss.

Two names, one catalogue, four years

Portable, born Habeeb Okikiola, broke out in late 2021 with “ZaZoo Zehh,” featuring Olamide and the dancer Poco Lee. Deezer’s catalogue API, checked directly on 27 October 2026, lists the sound-recording credit on that single as “MYAIRPLAY.” His next big single, “Ogo Forever,” released 7 January 2022, carries the same credit. Those two songs, more than anything else, are what put Portable on the national map.

Four days after “Ogo Forever” landed, on 11 January 2022, Portable posted a video to Instagram denying rumours that he had signed to a label. “I don’t have a boss,” he said. Eight days after that, on 19 January 2022, a different name appears for the first time in his catalogue’s credit field: “Zeh Nation,” on a release called “All Eyes On Me.” Nobody announced anything. The name was simply there, on the next song, and it has kept appearing on new Portable releases ever since, most recently on “Joki na Joke,” dated 27 October 2026, the same day this desk pulled the data. MYAIRPLAY has not gone away either; it is credited on “Jami,” released 30 June 2026.

Of the 164 releases checked, 77 carry the Zeh Nation credit and 43 carry MYAIRPLAY. Six are credited “Independent.” The rest, a long tail of roughly three dozen one-off credits, name small Nigerian promotion and distribution services that appear once or twice each and are not treated as part of this pattern. Critically, no single song in the catalogue carries both names at once, and no title repeats under the two credits. These are not two labels fighting over the same record. They are two separate, ongoing release streams, running in parallel, for more than four years.

What MyAirplay says it is, and what it is credited as

MyAirplay keeps a working public profile on Audiomack, where it describes its own business in its own words: “Music Promotions and airplay, Artiste Relations, Music PR, Talent Management.” That is a promotion and PR service describing itself. It does not call itself a record label anywhere this desk could find.

Yet “MYAIRPLAY” is the exact string Deezer returns in the sound-recording credit field, the slot that normally names whoever controls the master recording, on 43 of Portable’s releases. The Audiomack profile itself reports an upload count of 43 tracks and shows a creation date of 29 June 2021, both of which line up with the scale and timing of the catalogue pattern independently. MyAirplay’s own corporate website, myairplay.com, loads and returns a normal response, but the page itself is an empty, client-rendered shell with no text describing the company beyond a generic title, “Airplay,” and a one-word description, “Music.” A business can run a promotion service and still end up named as a phonogram rightsholder if it fronts the money for a pressing or a release, acts as a de facto label without calling itself one, or if an artist’s distributor simply typed its name into the metadata for reasons nobody involved has explained publicly. This record cannot tell which of those happened, or whether something else did.

What is checked, and what still cannot be established

Neither “Zeh Nation” nor “MyAirplay” turns up in a search of the UK’s Companies House register. Neither appears in MusicBrainz’s label database, which does carry entries for far smaller Nigerian independent operations than either of these. Nigeria’s Corporate Affairs Commission has no public search tool this desk could reach, so a Nigerian company registration under either name could not be confirmed and could not be ruled out either. That absence of evidence is reported here as exactly that, not as proof that either operation is informal, unregistered, or anything else.

Portable’s public denial of having a label is also not the only name in his orbit. Nigerian entertainment press covering the January 2022 episode reported that the same video that produced his “no boss” line followed an argument with Kogbagidi, described as his show promoter. Kogbagidi is a separate, named, public role, a promoter or manager, and nothing checked here treats that role as the same thing as a sound-recording credit. The two kinds of relationship, who books and manages an artist’s shows and who is named as owning the masters on a DSP, are legally distinct, and conflating them would be exactly the kind of error this record is built to avoid.

One more data point is worth ruling out explicitly, because Portable’s catalogue contains it and a quick look could mistake it for his own deal. A 2024 feature single pairs him with the UK artist Skepta, credited “Big Smoke Records under exclusive licence to Epic Records, a division of Sony Music Entertainment UK Limited.” That credit belongs to Skepta’s own recording agreement, not Portable’s; Portable appears on the track as a featured guest artist, and this desk has separately documented Skepta’s Epic Records deal elsewhere. It has nothing to do with the Zeh Nation or MyAirplay pattern and is set aside here for that reason.

Why this is reported as a contradiction, not a conclusion

This record does not say that Zeh Nation or MyAirplay is secretly Portable’s label, that he lied in 2022, or that either company has done anything wrong. What it says is narrower and, on the evidence actually gathered, solid: two named entities have been credited, in parallel, as the sound-recording rightsholder on the large majority of Portable’s commercial output for more than four years, including on the two songs that made him famous, and nothing in the public record, from either company, from Portable, or from any filing this desk could reach, explains why, or settles what either name’s relationship to him actually is. A phonogram credit and a public statement about having no boss can both be true on paper and still not be reconciled by anything available outside a private contract nobody has shown this desk.

What this means for artists

A sound-recording credit on a streaming platform is not a filing, a registered trademark, or proof of a signed contract. It is a string of text that whoever uploads a release to a distributor types into a metadata field, and DSPs generally do not verify it against any underlying paperwork. For an artist, that cuts two ways. It means a name can appear on your catalogue, release after release, without you necessarily having signed anything with that name, which makes the credit field a poor place to look for ownership truth if something has gone wrong. It also means an artist’s own denial that anyone owns their masters does not, on its own, erase a name that keeps showing up anyway; the two claims can simply coexist, unresolved, for years, as they have here.

Any artist who does not personally control the metadata on their own releases should ask, specifically, who is entering the phonogram credit and why, and should get that answer in writing rather than relying on what shows up later on Deezer or Apple Music. Anyone evaluating a catalogue from the outside, for a sync deal, a distribution switch, or a straightforward feature booking, should treat a DSP credit line the same way: as a lead worth checking against an actual contract, never as the contract itself.