Veteran Fuji music icon General Kollington Ayinla has reignited public discourse with a bold declaration about his former romantic partner and fellow music legend, Queen Salawa Abeni. In a recent candid interview, the 76-year-old music maestro firmly stated that, regardless of her current marital status, Salawa Abeni remains his wife in principle. According to him, her current partner is merely “loaning” her.
This comment has sparked renewed interest in one of Nigeria’s most storied showbiz relationships—one that once captivated the Yoruba music scene and left an indelible mark on the evolution of Fuji and Waka music in Nigeria.
A Love Story Etched in Music History
Kollington Ayinla and Salawa Abeni were once the power couple of traditional Yoruba music. Their relationship in the 1980s and early 1990s combined personal romance with a prolific musical collaboration that significantly shaped the Fuji and Waka genres. They shared not only stages and recording studios but also a son, Sheriff Ilori, who has since followed in his parents’ footsteps into the entertainment world under the stage name “Big Sheff.”
Despite their romantic split many years ago, the cultural impact of their relationship has continued to resonate with fans of Nigerian indigenous music.
Kollington’s Bold Claim
During his latest interview with media personality Biola Bayo, General Kollington Ayinla made headlines when he was asked about his past relationship with Salawa Abeni. Without mincing words, the Fuji legend said:
“She remains my wife. That man that married her is only loaning her from me. I’m the original owner.”
This unapologetically possessive statement stunned the public and reignited long-standing discussions about the nature of their past and present relationship.
He further added that although they no longer live together, he still holds emotional and symbolic claims over Salawa, citing their shared history and child as unbreakable bonds.
Reaction from the Public
While some fans responded with nostalgia and amusement, others criticized Ayinla’s remarks as outdated and disrespectful, especially considering that Salawa Abeni has since moved on with her life and is legally married to another man.
Critics argue that statements like these reflect problematic attitudes about ownership and autonomy in relationships, particularly in patriarchal societies. On social media, responses ranged from humorous memes to passionate commentaries about the importance of respecting boundaries and acknowledging a woman’s agency.
A user on X (formerly Twitter) wrote:
“Calling someone else’s wife your own and saying her husband is only ‘loaning’ her is not romantic. It’s disturbing.”
Others viewed the comment through a lighter lens, interpreting it as an elderly man’s expression of lingering affection rather than a literal claim.
No Comment Yet from Salawa Abeni
Queen Salawa Abeni, who holds the distinction of being the first female Yoruba singer to sell over one million copies of a record in Nigeria, has yet to publicly respond to Kollington’s statement. Known for her dignified public presence and mastery of Waka music, Salawa has mostly kept her private affairs away from media sensationalism in recent years.
Despite numerous past questions about her relationship with Ayinla, she has maintained a respectful distance from controversy, often emphasizing her focus on music and family.
Their Legacy in Nigerian Music
The Kollington-Salawa saga is more than a personal story—it’s a key chapter in the evolution of Nigerian traditional music. Kollington Ayinla, a pioneer of Fuji music, was part of a legendary rivalry with Ayinde Barrister in the genre’s formative years. Salawa Abeni, on the other hand, elevated Waka music to commercial heights, earning the national honor of “Queen of Waka” from the Alafin of Oyo in 1992.
Together, they merged Fuji and Waka sounds in ways that appealed to a broader Yoruba-speaking audience. Their romantic and professional partnership introduced new audiences to traditional music and broke barriers for women in a male-dominated industry.
Their son, Big Sheff, is carrying that legacy forward, often performing with his mother and keeping both parents’ musical legacies alive.
Reflections on Ownership and Culture
Kollington’s remarks also bring to light deeper cultural dynamics in Nigeria’s entertainment history—where male dominance and patriarchy were often the norm, and women, even in positions of fame, were sometimes viewed through the lens of possession rather than partnership.
While some interpret his statements as a playful remark rooted in nostalgia, it raises important questions about the language men use to describe former partners and how those words reflect underlying cultural attitudes.
As Nigerian society continues to evolve, particularly with increasing awareness around gender equality and respect for individual choices, public figures like Ayinla will likely face greater scrutiny for comments that may be seen as diminishing women’s autonomy.
Final Thoughts
The saga of Kollington Ayinla and Salawa Abeni is a reminder of the deep entwinement between personal lives and public legacies in the world of music. While their romantic relationship may have ended decades ago, its echoes continue to reverberate through their music, their shared family, and the hearts of fans who followed their journey.
Whether his latest declaration is a reflection of undying affection, personal pride, or old-fashioned romantic bravado, one thing is certain: in the annals of Nigerian music, Kollington and Salawa remain an unforgettable duo.
