Six Times Wizkid Drew Directly From Fela Kuti
In recent weeks, a familiar cultural argument resurfaced after Wizkid publicly described himself as greater than Fela Kuti. The remark followed criticism from Seun Kuti, who had earlier challenged what he viewed as disrespectful comparisons made by Wizkid’s fans. The exchange reignited long-running debates around influence, legacy, and authorship in Nigerian music.
What is often overlooked in these debates is how deeply Wizkid’s music draws from Fela’s Afrobeat foundation. Across multiple projects, Wizkid has sampled, interpolated, or structurally referenced Fela’s work, not as imitation, but as adaptation. Below are six notable examples where that lineage is most evident.
First, Jaiye Jaiye. Built on a slowed Afrobeat groove, the track prominently borrows melodic and rhythmic elements from Lady. The horn patterns and call-and-response structure echo Fela’s original composition, reworked for a contemporary audience.
Second, Mood. This record draws from the spiritual calm and melodic phrasing of Water No Get Enemy. While subtler than a direct sample, the harmonic flow and pacing clearly trace back to Fela’s composition.
Third, Ginger. The track leans heavily on Afrobeat percussion and horn arrangements reminiscent of Fela’s late-1970s catalog, particularly the rhythmic style popularised in songs like Zombie. The influence is structural rather than lyrical.
Fourth, Anoti. This song channels the upbeat cadence and melodic bounce associated with Fela’s Shakara era. The groove-driven arrangement reflects classic Afrobeat dance-floor construction.
Fifth, Caro. While positioned as a pop record, its rhythmic backbone and horn phrasing show clear Afrobeat ancestry, drawing from Fela’s approach to layering rhythm, brass, and vocal repetition.
Sixth, Ojuelegba. Though not a direct sample, the song’s extended structure, reflective tone, and reliance on groove over hooks mirror Fela’s storytelling style, adapted to a minimalist, modern format.
Taken together, these examples underline an uncomfortable irony in the recent debate. Wizkid’s global success sits firmly on a musical architecture Fela pioneered. Sampling and reinterpretation are not acts of theft, but acknowledgements of lineage. However, they make clear that influence flows in one direction.
The question, then, is not whether Wizkid is successful. That is settled. The real issue is whether contemporary acclaim should be mistaken for foundational impact. Fela did not merely make songs. He created a language. Much of Nigerian pop music, including Wizkid’s catalogue, continues to speak it.
