Why TG Omori’s AFROCULTURE Cover Has the Internet Arguing

When TG Omori, one of Nigeria's directors, announced he designed the album cover for Flavour's upcoming project AfroCulture, the internet reacted.

What should have been a celebratory moment quickly became a conversation about authenticity, artistic process, cultural symbols, and the evolving expectations placed on modern creators. 

From accusations of the use of AI to debates over Adinkra symbols, the reveal has sparked a layered discussion.

Thank God Omori Jesam Obono Ubi, born June 8, 1995, goes by the stage name TG Omori or Boy Director. An indigene of Cross River State, he spent his early years in Agungi, Lagos.

At 15, he started directing stage plays for school and church, and at 16, he began to experiment with making videos. At 20, immediately after graduating from PEFTI Film Institute, he began to direct videos professionally. 

Today, Omori is one of the most recognisable visual artists in Afrobeats.

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On November 24, Omori posted on X:

"The greatest album deserves the greatest cover. Behold my first-ever album Artcover design for @2niteFlavour's upcoming album AFRO-CULTURE is here. Praise be to God almighty."

The design immediately drew attention, to say the least-not only for its striking visual composition but also for what people suspected about its creation.

Shortly after the announcement, discussions began. Critics began to claim that the artwork looked “AI-generated” in its texture, composition, and features that resembled AI aesthetics.

This criticism was amplified by TG Omori's days earlier online comment that young artists can't create without moodboards, which was considered hypocritical given that his work appeared to reflect AI trends or reference-heavy design.

Some users felt that if Omori wanted to prove the artwork's authenticity, it would have been more credible to show his Photoshop/design environment than post WhatsApp screenshots of the "process."

The discussion was further pushed when an X user, @Tarfism, asked whether the work had no artistic merit. 

In response, Omori shared screenshots to defend his process, but this only deepened the debate, as some insisted that proof did not settle the question of originality.

For many, this represented a wider creative conundrum of the AI era: when does inspiration become automation, and how is the audience to know the difference?

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Then there was another layer of controversy when an X user, @awo_dufie, pointed out that the artwork featured Adinkra symbols, traditional Ghanaian symbols with strong cultural meaning.

She said, "You need permission from the Ghanaian government to use Adinkra symbols… otherwise I'll personally report whatever project this is if it comes out."

She supported this claim by quoting the National Folklore Board, which states that:

The Copyright Act, 2005 (Act 690) specifies that the rights in folklore are vested in the President on behalf of and in trust for the people of the Republic. It also states that a person who seeks to use folklore outside the scope permitted by section 19 of the Act must seek permission from the National Folklore Board. Personal use, news reportage, and use for educational purposes do not require permission.

Any person who intends to use expressions of folklore for commercial purposes and any purpose other than as permitted under Act 690 is required to apply to the National Folklore Board for permission for the use and to pay the applicable fees as prescribed by the National Folklore Board.

This triggered a whole different discussion about respect for culture, the protection of heritage, and cross-border responsibilities by artists working with African cultural themes.

Although Omori has yet to address this particular concern publicly, the use of the Adinkra symbol is a reflection of Flavour's status as a pan African superstar.

The reaction to the AfroCulture album cover shows just how closely audiences today scrutinise creative work, especially from influential figures like TG Omori.

In this age of AI, cultural awareness, and digital transparency, an album cover is no longer “just a cover” but proof of artistic integrity, a statement of culture, a commercial asset, a legal consideration, and a piece of public discourse. Omori's design hit all of these areas at once.

What was supposed to be an achievement quickly became a layered debate about authenticity, artistic process, cultural heritage, and AI-era expectations.

Whether one believes the artwork is AI-generated, hand-designed, or a mix of both, this controversy highlights the challenges that modern artists face.