Fela vs Wizkid: A battle between generations legacy

In an industry where fan loyalty often fuels online arguments, a recent comparison involving Wizkid and Fela Anikulapo Kuti took an unexpected turn on social media. Weekend Trust highlights the issues.

It all began on Tuesday when what started as fans comparing their favourite artistes quickly grew into one of the most emotionally charged cultural debates in recent times. At the centre of it were Nigeria’s biggest music star, Wizkid, and son of legendary Afrobeat pioneer Fela Anikulapo Kuti, Seun Kuti.

The disagreement was not just about two musicians exchanging words online. It touched on bigger issues, the past versus the present, legacy versus popularity, and whether Nigerians, especially younger fans, know when admiration crosses into disrespect.

The trouble did not start with either artiste. It started with fans. On social media, some Wizkid supporters began comparing the singer to Fela Kuti, calling him a “modern-day Fela” and, in some cases, claiming he was bigger than the Afrobeat pioneer because of his global success.

To the fans, the comparison was simply excitement and pride. For Seun Kuti, however, it was wrong and disrespectful.

Seun argued that his father’s importance could not be measured by awards, chart positions or international tours. According to him, Fela was not just a musician but a national figure who used his music to confront military governments, corruption and injustice. He also pointed out that Fela paid a heavy price for his activism, including arrests, beatings, repeated raids on his home and years of harassment. Comparing such a life’s work to pop success, according to Seun, showed a lack of understanding of history.

Although Seun maintained that his anger was directed at fans and not Wizkid personally, the way he addressed them, especially calling some “ignorant”, only made matters worse, as Wizkid’s supporters saw it as an attack, and tensions quickly escalated. Seun Kuti also raised other issues during the exchange. He claimed to be the original “Big Bird” in the Nigerian music space and accused Wizkid of taking the nickname. He further challenged Wizkid’s fanbase to prove their loyalty beyond online arguments by raising N1 billion to build a school in Surulere.

For a while, Wizkid remained silent, and then he responded. When the singer finally addressed the issue on social media, his message was blunt and emotional. His statement, “I big pass your papa, wetin you wan do,” shocked many Nigerians and became the centre of the controversy. While some fans cheered his response, others saw it as the reaction of an artist pushed too far, and many felt it crossed a sensitive line. From that moment, the discussion moved away from legacy and became more personal, dividing public opinion and attracting criticism from different quarters.

Beyond the personalities involved, the conflict also reopened an old discussion about Afrobeat and Afrobeats. Fela’s Afrobeat was rooted in protest, politics and resistance. Wizkid’s Afrobeats is global, commercial and shaped by the demands of a modern music industry. It is safe to say that both artists have influence; however, they operate in different generations and serve different purposes.

Over the years, Seun Kuti has argued that today’s Afrobeats artistes benefit from the foundation laid by earlier musicians who challenged authority at great personal cost. Wizkid and his peers, however, represent a generation where success is measured by reach, ownership and global visibility, opportunities that were largely unavailable during Fela’s time.

The argument also drew attention to how other Nigerian artists have ridden on Fela’s legacy without attracting controversy. For instance, Burna Boy has consistently acknowledged Fela’s influence on his music and identity, describing it as inspiration rather than competition. Artistes like Asa and Adekunle Gold have spoken of Fela as a cultural foundation, while Falz has carried forward Fela’s tradition of social commentary in his own distinct way.

As the exchange continued, several public figures called for calm, urging both Wizkid and Seun Kuti to rise above fan-driven tension. They encouraged Seun to protect his father’s legacy without turning it into a battleground while also asking Wizkid to recognise the weight Fela’s name still carries for many Nigerians.

Veteran entertainer Charly Boy also weighed in through a lengthy post on X, saying there was no need for comparison, as both artists are legends in their own time. He wrote, “One dey rule charts, one rule conscience. One dey give sweet escape, one dey give hard reality. So who big pass? Na who you dey measure am by. If na fame and cruise — Wizkid. If na fight and freedom — Fela. River and fire no dey compete.”

He added, “Different time, different battle, different kind of greatness. No be who big pass. Na who touch your soul pass?”

Nollywood actress Shaffy Bello also shared her thoughts, saying, “I feel like some of our guys have reached that level already. International recognition, the money and the influence, those things matter in today’s world.”

Media influencer YhemoLee took a different view, criticising Seun Kuti for how he handled the situation. In an emotional post, he said Seun had lowered himself and given Wizkid’s fanbase room to attack Fela’s name, adding that the public exchanges were unnecessary and embarrassing for the Kuti family.

As the Wizkid–Seun Kuti exchange played out publicly, reactions from music fans were mixed but thoughtful. Beyond online insults and fan loyalty battles, many listeners used the moment to reflect on what greatness truly means and whether comparing artists from different eras, especially one as influential as Fela, serves any real purpose.

Speaking to Weekend Trust, a Lagos-based Wizkid fan, Tobi Oreoluwa, said, “Wizkid has taken Nigerian music far, globally, financially and in terms of collaborations. That doesn’t make Fela any less of a legend, but it shows that greatness can mean different things in different eras. Comparing them is unnecessary, even though fans will always hype their favourite.”

Another Wizkid supporter and student, Ifeoma Anuche, shared a similar view. “Music evolves,” she said. “Wizkid is doing amazing work for Afrobeats worldwide. He’s not trying to replace Fela. They are both great in their own ways. I just wish fans wouldn’t turn praise into online wars.”

For Fela’s supporters, the issue was deeper than popularity. A long-time admirer of the Afrobeat pioneer, Samuel Adey, said, “Fela’s music wasn’t just entertainment. It was a political movement. You can’t measure that with awards or streams. Comparing Wizkid to Fela doesn’t reduce Wizkid’s talent, but it takes away from Fela’s struggles.”

Another Fela loyalist, Hafsat Bello, agreed. “People keep arguing about who is bigger, but Fela’s influence goes beyond charts,” she said. “He changed how Nigerians think about freedom, culture and music. Wizkid is brilliant, no doubt, but this comparison feels unfair to a generation that fought for what we enjoy today.”

From a creative perspective, Raji Shehu, who is a talent manager and has been in the industry for over 10 years, said he believes comparing Fela Anikulapo Kuti’s era with today’s Afrobeats movement is largely misplaced. According to him, the two belong to completely different worlds. While Fela used his music as a direct tool of protest, often addressing government policies and social injustice head-on, today’s Afrobeats operates with far more freedom in subject matter.

He explained that Fela’s songs were deeply tied to the realities of his time, reflecting what society was going through and intentionally challenging those in power. Modern Afrobeats, on the other hand, is less rigid in messaging and more fluid in themes, driven largely by how audiences now consume music. For him, any comparison can only make sense when discussing impact, and even then, that impact must be clearly defined. Creatively, he insists, the two eras are simply not the same.

On whether the debate highlights a generational gap, Shehu said it clearly does. He said, “Listeners who truly understand Fela’s work recognise that he was openly anti-establishment and never attempted to align himself with politicians. That stance shaped both his sound and his message. Today’s audience, however, engages with music very differently. Music like Fela’s would struggle to sell in today’s market, not because of a lack of talent or depth but because of changing consumer habits. People now listen for enjoyment first, and heavy political messaging no longer appeals to the mainstream in the same way it once did.”

Addressing the frequent use of the word “bigger” in fan debates, Shehu described the term as vague and often emotional. He explained that many fans fail to agree on what they are actually measuring, whether it is numbers, sold-out shows, awards, or global reach. Even among today’s leading stars, including Wizkid, Burna Boy and Davido, he believes the differences are not as wide as fans make them seem.

He argued that these artists are on different journeys but are all operating at the highest level of their individual capacity. Their impacts, he said, may differ in form, but none is necessarily bigger or smaller than the other. The problem, he warned, is that social media arguments are increasingly driven by personal feelings rather than facts, turning casual banter into a misleading narrative.

If left unchecked, Shehu added, this could distort music history.

“Future generations may struggle to understand who achieved what, especially if online noise becomes the primary record. For him, preserving context and accurate information is essential, not just to honour the past, but to avoid diminishing the achievements of present-day Nigerian artists.” he said.

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