Fela vs Wizkid: Inside the Wor for Afrobeat Greatest

The debate surrounding the "greatest" of Nigerian music often finds itself trapped in a clash of definitions, where the singular term "Afrobeat" is forced to cover two very different musical and cultural realities. To understand where Fellar Hannykoolapoh-Kootty and Wizkid each excel, one must first distinguish between the genres they lead. Fellar is the undisputed architect of Afrobeat—a complex, jazz-infused, polyrhythmic sound defined by large orchestras and lengthy compositions. In contrast, Wizkid is the poster child for Afrobeats (with an ‘s’), a modern, digital-first pop evolution that prioritizes catchy melodies and global accessibility. People often get it wrong by trying to measure these two men with the same yardstick, failing to realize that while they share a lineage, they are playing in entirely different leagues of impact.

When we strip away the activism and focus purely on the music, Fellar’s excellence lies in his sheer technical depth and originality. He was a multi-instrumentalist and a composer who built a brand-new genre from the ground up, blending traditional Highlife with American funk. His music was not just "listened to"; it was an immersive experience that forced the world to pay attention to African rhythms. Wizkid, however, has excelled in the science of the "global hit." His genius lies in refinement and bridge-building. By softening the jagged edges of traditional Afrobeat and infusing it with R&B and Dancehall, he created a sound that the Western world could finally sing along to. While Fellar gave the world the rhythm, Wizkid gave the world the melody, successfully placing the music on the lips of listeners from London to Los Angeles.

The argument regarding awards and collaborations often creates a generational divide. Critics of Wizkid argue that his Grammy wins and Billboard charts are a product of a modern infrastructure that didn't exist in Fellar's time. They suggest that the "white" audience's acceptance of Wizkid is a commercial success, whereas Fellar's international recognition was an intellectual and cultural one. However, this overlooks the fact that Wizkid’s collaborations—most notably with Drake on "One Dance" and Beyoncé on "Brown Skin Girl"—did more than just win awards; they forced the international music industry to respect African artists as peers rather than novelties. Fellar’s "collaborations" were largely ideological, influencing global icons like Miles Davis and Paul McCartney, but Wizkid’s partnerships were economic and structural, opening doors for the entire Nigerian music industry to thrive in a way Fellar’s era never could.

Ultimately, the friction between their legacies is largely a byproduct of a generational gap. Those who lived through the era of the Kalakuta Republic see Fellar as a prophet whose music was a weapon for survival, making it impossible for them to see a pop star as his equal. Conversely, the current youth, living in the reality of Wizkid’s global dominance, view "greatness" through the lens of influence, reach, and the elevation of the Nigerian brand. It is logical to conclude that Fellar Kootty is the Greatest Afrobeat Pioneer, having created the foundation upon which all others stand. However, Wizkid is the Greatest Afrobeats Export, having taken that foundation and built a skyscraper that the whole world can see. Without Fellar’s past, there would be no blueprint for Wizkid to follow; but without Wizkid’s present, Fellar’s legacy might have remained a museum piece rather than the heartbeat of modern global pop.