Afrobeat singer Seun Kuti has denied claims that he has been using the name of Grammy-winning singer Wizkid to gain attention or “revive” his music career. The accusations surfaced after Kuti repeatedly criticised Wizkid and his fans during recent livestream sessions, sparking debate among fans and followers of both artists.
In a recent livestream, Kuti addressed the allegations directly, saying that his career has never been in decline and that he has no reason to rely on another artist’s fame to boost his profile. “Some people are saying I am trying to use Wizkid to revive my career. When did my career die for me to be trying to revive it?” he asked rhetorically.
The son of Afrobeat legend Fela Kuti emphasized that he remains a successful performer with a strong global fanbase. “Last year alone, I did 82 shows globally. I sold out shows in Australia, Europe, America, and Brazil. I have people who are fans of my music worldwide,” Seun Kuti said.
He also used the opportunity to explain his stage persona, calling himself “Big Bird” as a symbol of his outlook on music and life. “I call myself Big Bird because the sky is big for everybody. Because no matter how big you are, you can’t occupy the whole sky,” he said. Kuti added that the artists who truly need to revive their careers would know themselves and that he does not fall into that category.
Seun Kuti’s remarks come amid increasing scrutiny of Afrobeat artists and their rivalries in Nigeria. Wizkid, often referred to as “Starboy,” is one of Africa’s most successful music exports, with a Grammy award to his name and a strong fan following known as the “Starboy Army.” Any public criticism directed at him often sparks intense online debates, reflecting the passionate loyalty of fans and the competitive nature of Nigeria’s music industry.
Seun Kuti, who has carried the Afrobeat legacy of his father, Fela Kuti, has been performing internationally for years. Known for blending traditional Afrobeat sounds with contemporary influences, he has maintained a global following that values not only his music but also the social and political messages often embedded in his songs.
His livestreams, which have become a platform for candid commentary, reportedly included pointed remarks about Wizkid’s music and fanbase. Critics suggested that Seun Kuti was using Wizkid’s popularity to draw attention to himself. However, Kuti’s response has made it clear that he sees himself as independent from the mainstream Afrobeat pop circuit, confident in the strength of his own music and career.
In defending his record, Kuti highlighted the scope of his international engagements, underscoring that his career remains active and thriving. “People whose careers need revival know themselves. It is not me,” he reiterated, emphasizing his ongoing relevance in the music world.
Seun Kuti’s statements also reflect a broader challenge in the Nigerian music industry, where legacy acts often coexist with contemporary stars in a crowded market. Artists like Kuti, who come from established musical lineages, often navigate the tension between upholding traditional Afrobeat influences and adapting to the current commercial environment dominated by Afropop and global collaborations.
The allegations that Seun Kuti might be chasing clout with Wizkid’s name highlight the heightened attention and scrutiny that Nigerian musicians face, both online and in the media. Social media platforms have become spaces where fans and critics weigh in on artists’ actions, sometimes amplifying controversies far beyond the original context.
Despite the criticism, Seun Kuti remains committed to his music and to performing globally. His sold-out shows across multiple continents last year reinforce his statement that his career is not in need of revival. Fans and music commentators point out that Kuti’s international presence and steady touring schedule demonstrate his continued relevance, separate from any local or online disputes.
The dialogue between traditional Afrobeat musicians and contemporary Afropop stars reflects the evolving nature of Nigeria’s music industry. While Wizkid has become a symbol of modern global Afropop success, Seun Kuti represents a bridge between the Afrobeat legacy of the 1970s and today’s music scene. Both artists appeal to different audiences, and Kuti’s insistence on independence signals his desire to remain true to his roots.
Seun Kuti’s response also underscores the challenges of navigating fame in an era of social media, where statements, livestreams, and interactions can quickly become viral and subject to widespread interpretation. The Nigerian music industry, like global music markets, has become highly connected, and every statement by a public figure can spark debate and speculation.
