A prominent Nigerian music executive has drawn attention for his stance on contractual terms restricting female artists from becoming pregnant during their careers. Ubi Franklin, founder of the Lagos-based label Made Men Music Group (Triple MG), recently revealed he includes a “no pregnancy” clause in contracts signed with rising female acts, citing concerns over career continuity.
Speaking on the Culture Sonic podcast, Franklin argued that pregnancy often hinders an artist’s momentum, particularly for those yet to establish a durable fanbase. “Imagine investing in a female artiste, and she gets pregnant—that’s over,” he said. “It takes a lot for her to come back. Can you name new female artistes who got pregnant and successfully returned to the industry?” While acknowledging the right to motherhood, Franklin emphasized prioritizing career stability first. “I’m not saying they can’t have children, but [they should] build a strong career foundation,” he added.
The policy reflects broader challenges faced by female artists in male-dominated entertainment industries, where gaps in visibility during pregnancy or childcare can compound existing inequities. Though Franklin did not reference specific cases, his comments tap into longstanding debates about balancing personal choices with professional demands in creative fields. Globally, similar discussions have arisen around workplace policies for women in sectors like sports and entertainment, where physical presence and public engagement are often tied to success.
Triple MG, known for launching acts like Iyanya and Tekno in Nigeria’s competitive Afrobeats scene, has not publicly disclosed whether this clause applies to all female signees or if exceptions exist. Franklin’s approach underscores the high-stakes nature of music investments in an industry where labels often shoulder upfront costs for training, production, and promotions. However, critics of such clauses argue they risk infringing on personal autonomy, disproportionately affecting women’s career trajectories compared to their male counterparts.
While Franklin’s remarks highlight pragmatic concerns from a managerial lens, they also invite scrutiny over how contractual obligations intersect with gender equity. The conversation arrives amid growing calls for structural support—such as maternity leave and flexible scheduling—to accommodate artists navigating parenthood without derailing their careers. For now, the debate continues on whether restrictive clauses are a necessary safeguard or a barrier to inclusivity in Nigeria’s fast-evolving music landscape.
