Wizkid Bigger Than Fela?

Ferdinand Ekechukwu and Tosin Clegg

Without Fela, there wouldn’t be Afrobeat. Without Afrobeat, there wouldn’t be Afrobeats. And without Afrobeats, there wouldn’t be a Wizkid, Burna Boy or Davido. It is not unusual terse comments like these have, repeatedly ignited conversations that deepen pop culture. It is not also new that claims such as it seems, are induced by a raving fan culture.

Like the recent encounter between Afrobeat musician, Seun Kuti and fans of Afrobeats artist, Wizkid. Following an argument over what he described as repeated attempts to drag his late father, Fela Anikulapo-Kuti, into online music debates, Seun who inherited and leads Fela’s Egypt 80 band, accused members of the fan base known as Wizkid FC of being disrespectful to his father’s legacy.

The fans have been drawing parallels between the late Fela and the Grammy winning artist, positioning Wizkid as a modern equivalent or superior to the Afrobeat originator. But the youngest son of the Afrobeat pioneer wasn’t having any of it. Being his father’s leading fan, Seun called the comparison an outright insult. The crux of his argument boils down to legacy versus modern fame.

He clarified his criticism was not directed at Wizkid personally but at a fan culture that equates noise with relevance and disrespects historical figures under the guise of praise.  Seun further argues that comparing modern pop success to Fela’s revolutionary struggle and legacy stems from a place of ignorance. He later at some point boasts of having received $120,000 off his late father’s catalogue.

When Wizkid eventually reacted via posts on his Instagram story on Tuesday, the feud between his fans and Seun Kuti escalated. Wizkid first shared a video of a lady addressing Seun in Yoruba. In the video, the woman rebuked Seun, arguing that Wizkid’s global success is a primary reason younger audience remains engaged with Fela’s legacy.

The exchange got so heated and personal between the two artists that Wizkid then posted ‘I’m bigger than your father’. Wizkid’s outburst then stirred massive reactions and drew comments from influential voices, many condemning his remarks while others defended him, arguing that Seun poked Wizkid with earlier comments about him not cautioning or defending his fans.

Of note, Fela pioneered Afrobeat in the late 1960s, blending traditional African rhythms with jazz, funk, and highlife. He used music as a tool to speak against oppression, social injustice. Associated with major role in the creation of the genre was Tony Allen, a drummer. While Wizkid rose in the early 2010, blending Fela’s rhythmic influence with global pop and R&B to achieve commercial dominance long after Fela departed the stage.

Born Ayodeji Balogun, Wizkid has continued to make strides, often citing Fela as a significant inspiration. He even etched the image of Fela on his arm as a lasting reverence. He once admitted in a PulseTv interview posted online that it’s a disrespect to compare. “No you can’t compare, let’s not use that word that’s like disrespect when you are mentioning Wizkid and Fela in same sentence.”

Revealing a bold tattoo on his arm, he added. “That’s someone that inspires me. Fela’s face is on my body. So you can’t compare. He just inspires me in everything he’s done with his music and his legacy to be great and to want to do more.” In some contexts, Wizkid and Fela represent distinct eras and from different backgrounds.

The latest comparison comes on the heels of Wizkid’s historic feat as the first African artist to surpass 10 billion streams on Spotify weeks ago. Cementing his global dominance, and enduring influence, the Spotify figures show Wizkid leading Africa’s most-streamed artists on the platform, ahead of Burna Boy, Rema, Davido, and other African music stars.

The milestone further cements Wizkid’s position as one of Africa’s most successful and globally renowned music artists. Although Fela did not receive any gramophone during his lifetime, upcoming 2026 edition of the prestigious award will honour his second recognition with a Lifetime Achievement Award by the Recording Academy within six months.

In June 2025, Fela’s 1976 socio-political album, ‘Zombie’, was inducted into the 2025 Grammy Hall of Fame. Over the decades following his death, numerous awards have been bestowed in his name. In announcing the recognition, the Recording Academy stressed that Fela is being honoured posthumously for his lifetime influence in shaping modern music styles as well as inspiring many global singers.

While the arguments have ensued, many considered it baseless comparing Wizkid to Fela. In their views, it’s uncalled for because Fela was more than a musician. He was noted for activism, for social crusading, and as an authority and much more. Some observers blamed the younger generation for the comparisons, mostly the Gen Zs who are the bulk of Wizkid FC due to lack of knowledge of what Fela is.

Interestingly, the comparisons overtime has been met with consistent pushback from Seun Kuti, who acknowledged that while Wizkid has achieved greatness, Fela’s role as the inventor of a genre and a political icon remains an unparalleled historical fact. Ultimately, Afrobeats owes its foundational roots to Fela’s Afrobeat, Wizkid’s success represents the genre’s modern commercial peak.

The truth is that the name Fela represents far more than an individual; it symbolises a movement and a pacesetter whose influence helped shape the foundation of Afrobeats as it is known today.

His legacy has transcended generations, paving the way for numerous Nigerian artists to gain global recognition and secure major international awards, including the Grammys, MOBOs, and BET Awards. The impact of his artistry and activism remains deeply woven into the fabric of African music and culture.

While it is understandable that some fans may not align with or fully embrace Fela’s ideology, this does not justify any form of disrespect toward his person or enduring legacy. Much of the recent tension could have been handled more constructively between Seun and Wizkid, particularly from the former, who might have acknowledged that Wizkid is not a direct extension of his fans and does not exercise total control over their actions or opinions.

Personally, mutual respect, perspective, and restraint remain essential, especially when conversations involve cultural icons whose legacies continue to shape and elevate the global standing of Nigerian music.