Wizkid vs. Seun Kuti: Fela's Legacy Ignites Bitter Celebrity Feud

Published 1 week ago5 minute read
Pelumi Ilesanmi
Pelumi Ilesanmi
Wizkid vs. Seun Kuti: Fela's Legacy Ignites Bitter Celebrity Feud

An intense social media feud has erupted between Afrobeat musician Wizkid and Seun Kuti, the son of the legendary Fela Anikulapo-Kuti, drawing widespread reactions from celebrities, politicians, and netizens. The public spat began after members of Wizkid’s fanbase, Wizkid FC, described him as a “modern-day Fela,” a notion quickly dismissed by Seun Kuti, who insisted on his father's unparalleled greatness.

The controversy escalated significantly when Wizkid, in a series of Instagram posts, affirmed his own superiority over Fela, even challenging Seun Kuti to do his worst by declaring, “I’m bigger than your father.”

Social media influencer VeryDarkMan, popularly known as VDM, heavily criticized Wizkid, accusing him of disrespecting Fela Kuti. VDM argued that Nigeria uniquely fails to recognize its music legends, often dismissing them as “past glory,” unlike other countries that honor their great artists. He lamented that Nigerian music pioneers and veterans who voice concerns are either insulted or ignored, citing names like Eldee the Don, African China, Plantation Boiz, Psquare, Remedies, Tony Tetuila, Jazzman Olofin, 9ice, Vector, Sasha P, Asa, Weird MC, 2Face Idibia, and Blackface as examples of those who should be idolized.

VDM further claimed Wizkid’s comments incited his fans to insult Fela, suggesting that while disagreements are normal, Wizkid should have handled the situation with more decorum. He dismissed claims that Wizkid’s 2021 Grammy win for Best Music Video, as a featured artist on Beyoncé’s “Brown Skin Girl,” placed him above Fela, arguing the award was largely influenced by Beyoncé’s global stature.

In contrast, VDM highlighted Burna Boy’s Best Global Music Album win for “Twice As Tall” and Tems’ multiple Grammy awards as pure reflections of individual musical contributions. He also pointed out that Beyoncé herself has repeatedly celebrated Fela Kuti, performing a tribute with “Zombie” and praising him in interviews, adding that “Zombie” was inducted into the Grammy Hall of Fame in 2025, and Fela is expected to receive a posthumous Lifetime Achievement Award in 2026.

VeryDarkMan also defended Fela’s personal life, particularly his multiple marriages, by questioning why historical figures like King Solomon are revered despite similar controversies. He steadfastly maintained that Wizkid has not surpassed Fela Kuti or other members of the Kuti dynasty, including Femi, Seun, and Made Kuti, musically or artistically, emphasizing the family’s enduring and unmatched influence on African music and global cultural discourse.

Yeni Kuti, Fela’s first child, weighed in on the feud, expressing her personal affection for Wizkid, whom she considers a "small friend." She recounted Wizkid's early days as a backup singer at the Shrine during Felabration, stating, “there is no way I can never not like Wizkid.” However, she also apportioned blame to Wizkid for not promptly de-escalating the conflict.

Yeni urged both parties to “mend fences,” emphasizing that the ongoing “dirty argument” stains not just the Fela family but all of Nigeria, especially as Fela is about to receive significant posthumous honors. She highlighted Fela's induction into the Grammy Hall of Fame in June 2025 with his 1976 song “Zombie,” and the announcement in December 2025 by the Recording Academy that Fela would receive a Special Merit Award at the 2026 Grammy Awards on January 31, 2026.

Yeni passionately argued that icons like Fela, who started a genre of music and have been dead for 27 years, should be respected, drawing a parallel to how Bob Marley is revered in other countries. She urged Nigerians to prepare for Fela's anticipated Grammy honor instead of engaging in divisive debates.

Various public figures have also reacted to the controversy. Former Senator Shehu Sani rejected comparisons between Wizkid and Fela, asserting that Fela’s greatness extended beyond music and popularity, encompassing his role as a symbol of resistance against oppression and injustice. Sani highlighted Fela’s survival through imprisonment, torture, and death threats for his principles, stating he “planted the seeds of freedom enjoyed by the generations after him.”

Veteran singer Charly Boy called for calm, acknowledging the impact of both artists but noting they represent different generations and struggles, making their greatness incomparable. Actress Shaffy Bello, however, offered a contrasting view, suggesting that modern Afrobeats' "Big 3" or "Big 4" – including Wizkid, Burna Boy, Davido, and Asake – have reached legendary status through international recognition, wealth, and cultural influence.

Media personality Yhemolee blamed Seun Kuti for escalating the feud, claiming that most Wizkid FC members lack knowledge of Fela’s history and legacy, and that Seun’s engagement with online trolls caused unnecessary disrespect toward Fela. Daddy Freeze, another media personality, stressed that Fela was more than an entertainer, describing him as a freedom fighter whose activism and music were inseparable, suggesting Wizkid must embrace activism before making comparisons.

Music journalist Joey Akan criticized Wizkid for allegedly distancing himself from the culture that nurtured his rise, contrasting it with Fela’s continued fight for his people even after gaining international acclaim. Controversial singer Portable also joined the debate, questioning Wizkid’s relevance and impact compared to Fela, even boasting about his own struggles and comparing himself to Wizkid’s "prison experience" in a viral video, saying, “I’m bigger than Wizkid.”

The ongoing debate underscores a broader conversation about legacy, influence, and the differing interpretations of what constitutes greatness in the Nigerian music industry. While some argue for Fela's unique status as an activist and pioneer, others believe contemporary artists like Wizkid have forged their own path to global recognition, prompting a re-evaluation of how musical icons are defined and respected in the modern era.

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