Olamide Crowns Wizkid as the True Heir to Fela

In a moment that has reignited debates across the Afrobeats world, Nigerian rap legend Olamide publicly declared Wizkid as the rightful heir to the late Fela Kuti. Speaking during a guest appearance at York University in Toronto, the YBNL boss sent shockwaves through social media when he said, “After Fela, Wizkid is the greatest Afrobeats artist ever.”

Olamide’s pronouncement resonates deeply because of his own pedigree in Nigeria’s music scene. As one of the architects of street rap and a long-time collaborator with Wizkid, his words carry weight beyond fan chatter. He pointed to Wizkid’s global reach, consistent output, and artistic influence, qualities that, in Olamide’s view, lift him above the rest of the contemporary Afrobeats crowd.

Their personal and professional relationship dates back years. The two have created multiple hits together, including “Kana,” “Street OT,” “Totori,” and their 2025 single “Kai!”, a track that dropped just ahead of Olamide’s eleventh studio album Olamidé.

The reaction online was immediate. Fans and critics alike took to X (formerly Twitter) to dissect Olamide’s statement. Wizkid’s supporters saw it as overdue recognition from one of Nigeria’s most respected rappers, while others used the moment to reexamine what “legacy” really means in Afrobeats, especially when you compare modern stars to Fela, who remains an icon of political music and social change.

To fully understand the weight of Olamide’s words, you have to look at the historical context. Fela Kuti isn’t just another musician — he’s the founding father of Afrobeat (without the “s”), a politically charged, jazz-infused genre defined by long instrumental passages and sharp social commentary. Wizkid, by contrast, operates in the modern Afrobeats (with an “s”) space, a contemporary, hybrid sound that mixes dancehall, R&B, hip-hop, and highlife.

By placing Wizkid directly after Fela, Olamide isn’t just giving praise, he’s staking a claim about how musical greatness should be measured in 2025. According to him, Wizkid’s revolution is quieter and more global: not a thunderous protest, but a consistent wave that changed how the world listens to African music.

But not everyone is on the same page. While many celebrated Olamide’s comment, the statement also sparked a broader conversation: Can any modern Afrobeats artist truly be “after Fela”? What does it even mean to be his heir? Some argue that Fela’s legacy, rooted in activism and Afrobeat’s complex political rhythm — is fundamentally different from what current Afrobeats artists do.

Olamide’s declaration is more than flattery, it’s a statement of legacy. By elevating Wizkid in this way, he’s shaping a narrative about who defines greatness in Afrobeats right now. He’s also calling on fans, critics, and the industry at large to reconsider how they value influence, impact, and cultural reach.

For Wizkid, it’s a powerful endorsement: from a peer, a friend, and a respected veteran. For Afrobeats, it’s a conversation starter — and possibly a turning point in how its icons are remembered and celebrated.