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Opinion

Fela Aníkúlápó Kuti and His Crowned Princes

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Fela

By Prince Adeyemi Shonibare

Explore why Fela Kuti’s Afrobeat legacy surpasses trends, shaping Nigerian music history, while Wizkid and contemporary stars carry the torch globally

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Preface: The Necessity of Historical Context

Every generation seeks its heroes. In music, this instinct often manifests through comparison—an exercise that frequently reveals more about contemporary taste than historical contribution.

Also read: MTN Nigeria Hosts Nationwide AFCON Watch Parties

In recent years, public discourse, amplified by social media, has juxtaposed Fela Aníkúlápó Kuti with global Afrobeats icons, most notably Wizkid, provoking the recurring question of “greatness” in Nigerian music.

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This essay does not diminish the accomplishments of Nigeria’s contemporary stars, whose global visibility is unprecedented.

Rather, it offers a scholarly contextualization—one that distinguishes between musical origination and musical succession, and between cultural architecture and commercial dominance—while situating Fela Aníkúlápó Kuti firmly within the category of historical inevitability.

The Problem with Simplistic Comparison

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Comparing Fela Aníkúlápó Kuti with contemporary Afrobeats performers is, by scholarly standards, inherently flawed.
Fela’s work transcended performance. He engineered an entire musical and ideological system, fused political philosophy with sound, and permanently altered the trajectory of African popular music.

His output represents cultural authorship, not entertainment calibrated to market demand. Fela’s music is timeless precisely because it was never designed to be fashionable.

A Yoruba proverb captures this distinction with enduring clarity:
“Ọmọ kì í ní aṣọ púpọ̀ bí àgbà, kó ní akísà bí àgbà.”
A child may own many clothes, but he cannot possess the rags of an elder.
The proverb is not dismissive. It is instructive. It speaks to accumulated depth—experience earned, systems built, and legacies forged through time rather than trend.

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Musicians and Artistes: A Necessary Distinction

A rigorous analysis requires conceptual precision. Fela Aníkúlápó Kuti was a musician in the classical and intellectual sense: a composer, arranger, bandleader, employer of musicians, multi-instrumentalist, theorist, and cultural philosopher. His work demanded mastery of form, orchestration, ideology, and discipline.

Fela composed extended works, trained orchestras, performed entirely live, and embedded African political consciousness into rhythm, harmony, and structure.

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By contrast, many contemporary stars—though exceptionally gifted and globally successful—operate primarily as artistes: interpreters of sound whose work prioritizes studio production, performance aesthetics, and commercial reach. This is not a hierarchy of worth, but a distinction of function.

Fela’s music demanded study and confrontation; contemporary Afrobeats prioritised accessibility, pleasure, and global circulation—often without courting antagonism.
Afrobeat: An Ideological Invention
Afrobeat, as conceived by Fela, was not merely a genre. It was an ideological framework. Jazz, highlife, Yoruba rhythmic systems, call-and-response traditions, and political chant were fused into a resistant, uncompromising form.
Modern Afrobeats—by Wizkid, Burna Boy, and others—are adaptations and descendants, not replicas. They have expanded Africa’s global cultural footprint, but expansion does not erase origination.

Fela’s Afrobeat remains the undiluted prototype upon which contemporary success rests.
Enduring Legacy Beyond Mortality
Fela Aníkúlápó Kuti passed in 1997, yet his influence has intensified rather than diminished. His legacy is evidenced by:
– Continuous academic study across global universities.
– International bands, many formed by people not alive at the time of his death, performing his works.
– FELABRATION, now a global annual cultural event.
– Broadway and international stage adaptations inspired by his life and music.
– Lifetime achievement and posthumous recognition by the Grammy Awards.
– Cultural centres, festivals, and scholarly conferences generating lasting intellectual and economic value.
This constitutes cultural permanence, not nostalgia.
Reconsidering Wealth and Sacrifice
Measured monetarily, Fela was not among the wealthiest musicians of his era. His radicalism came at an immense personal cost. He was beaten repeatedly.

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His mother, Funmilayo Ransome-Kuti, was killed. His home was burned. Original artistic archives were destroyed during state-sanctioned violence by unknown soldiers, even though history records who authorised the actions.

Yet Fela gave voice to generations—from Ojuelegba to Mushin, Ajegunle to Jos, Abuja, and even the privileged enclaves of today’s ọmọ baba olówó.

He toured globally with an unusually large band long before satellite television or social media could amplify his reach.
Like Wole Soyinka and Chinua Achebe, Fela’s wealth exists beyond currency. It resides in influence, citation, adaptation, and endurance.

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National and Global Recognition

Fela received a state burial in Lagos—an extraordinary acknowledgment from a military government he relentlessly criticised. Nations rarely honour dissenters so formally.

Globally, his stature aligns with figures such as James Brown, Elvis Presley, and the Rolling Stones—artists whose music reshaped identity, politics, and social consciousness.

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The Crowned Princes: Wizkid and the Ethics of Reverence

Nigeria’s modern stars—Wizkid, Burna Boy, 2Face Idibia, Davido, Tiwa Savage, Tems, Olamide, among others—have achieved extraordinary global success.

They are wealthier, more mobile, and more visible internationally than previous generations, and they deserve their accolades.
Wizkid, in particular, has consistently demonstrated reverence rather than rivalry toward Fela Aníkúlápó Kuti.
Femi Aníkúlápó Kuti has publicly stated:
“Wizkid loves Fela like a father.”
Wizkid has repeatedly supported FELABRATION, never demanding performance fees.

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The only times he has not appeared were occasions when he was not in the country.

He has remixed Fela’s music, bears a Fela tattoo on his arm, and openly acknowledges Fela’s primacy.

A senior associate and long-time friend of Wizkid has affirmed that Wizkid adores Fela, would never equate himself with him—“in this world or the next”—and that recent tensions were reactions to provocation rather than assertions of equivalence.
This distinction matters. Wizkid’s posture is one of inheritance, not competition.
Seun Kuti and the Burden of Legacy
Seun Kuti is a musician of conviction and lineage. Yet relevance is best secured through original contribution rather than reactive comparison.

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Fela’s legacy does not require defence through controversy; it is already settled by history.

As William Shakespeare observed:
“The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.”
—Julius Caesar

The weight of inheritance can inspire greatness or provoke restlessness. History rewards those who build upon legacy, not those who contest it.
The Songs That Made Fela Legendary
Among the works that cemented Fela’s immortality are:
– Zombie
– Water No Get Enemy
– Sorrow, Tears and Blood
– Coffin for Head of State
– Expensive Shit
– Shakara
– Gentleman
– Teacher Don’t Teach Me Nonsense
– Roforofo Fight
– Beasts of No Nation
These compositions remain sonic textbooks of resistance.

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Fela in the Digital Age

Had Fela lived in the era of social media, his voice would have resonated far beyond Africa.

His music would have found kinship among global movements confronting inequality, oppression, and social injustice.

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“Music is the weapon.”
—Fela Aníkúlápó Kuti
Weapons, unlike trends, endure.
Placing Greatness Correctly
Fela Aníkúlápó Kuti’s greatness does not require comparison. He is the great-grandfather of Afrobeat—the musical and cultural architect who cleared the roads upon which today’s Afrobeat princes now travel.

Honouring contemporary success does not diminish historical achievement.

Also read: MTN Nigeria Hosts Nationwide AFCON Watch Parties

To understand Nigerian music’s global relevance is to understand Fela. History, when read correctly, is both generous and precise.

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Opinion

Parliamentary oversight or coordinated smear? The unprocedural attack on NNPCL’s Dr. Mumuni Dagazau

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Parliamentary

Also read: Iheanacho Extends Scoring Run in Bursaspor Win

This provision empowers each chamber of the National Assembly to order investigations into any matter within its legislative competence, as well as the conduct of any person, authority, ministry, or government department entrusted with executing laws or administering public funds.

Furthermore, Section 62 provides the explicit constitutional foundation for establishing specialized committees, most notably the Committee on Public Petitions, to systematically receive, review, and investigate genuine citizen grievances.

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To ensure these powers are exercised with order, discipline, and fairness, the legislature operates under clear Standing Orders formulated pursuant to Sections 60 and 101 of the Constitution.

While derived broadly from the investigative powers in Sections 88 and 128, the specific mechanisms, rules, and mandatory steps for receiving, vetting, hearing, and acting upon public petitions are meticulously detailed within these Standing Orders.

Having established this statutory background, it is essential to emphasize a fundamental principle: the constitutional mandate to receive and investigate petitions is an instrument of public accountability, not a weapon for personal vendettas, political witch-hunts, or legislative leverage.

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It is within this context that the recent actions of the House of Representatives Committee on Petroleum Resources (Downstream) must be critically examined.

Its Chairman, Hon. Ikenga Ugochinyere Imo, disclosed at the House Committee Downstream Week that his committee had received a petition alleging money laundering and abuse of office against the Executive Vice President of the Nigerian National Petroleum Company Limited, Dr. Mumuni Dagazau.

A rigorous examination of this public disclosure reveals a glaring departure from standard parliamentary practice.

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This entire affair bears all the hallmarks of a orchestrated campaign driven by deep-seated malice; a desperate attempt to smear the character of public officers who have steadfastly refused to cow to covert blackmail or compromise their official responsibilities.

If this petition possesses any legitimate substance, why did the Committee Chairman fail to reveal the identity of the petitioner? Going public with an unverified, anonymous document without first conducting a preliminary administrative inquiry, establishing a prima facie case, or according Dr. Dagazau his fundamental constitutional right to a fair hearing is deeply troubling.

By disclosing to the press with unbacked claims, the committee has bypassed established legislative protocol and effectively subjected an officer to a trial by media.

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In doing so, the committee risks allowing itself to be used as a proxy for disgruntled elements seeking to undermine ongoing reforms in Nigeria’s downstream petroleum sector.

These interested parties appear unable to accept that the NNPC Limited of today operates under an entirely different paradigm from the NNPC Limited of the past. Under the Petroleum Industry Act (PIA), NNPC Limited is driven by financial prudence, corporate accountability, and strict integrity.

The days when public institutions could be coerced into handing out unearned benefits are over. Those who believe they can resort to character assassination to extract personal gain or force compliance will find that their blackmail falls on deaf ears.

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Furthermore, the backdrop against which these remarks were made renders the Chairman’s comment even more disappointing.

At a major legislative gathering such as the “House Committee Downstream Week” a platform designed specifically to evaluate the health, security, and growth of Nigeria’s energy sector; the clear expectation of stakeholders, industry experts, and the general public was a forward-looking, substantive engagement.

National interest demanded that the committee focus its spotlight on critical industry dynamics: tracking progress made in local refining capacity, addressing persistent supply and bottlenecks, tackling crude oil theft, and formulating actionable legislative solutions to lower energy costs for everyday Nigerians.

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Instead of seizing this vital platform to offer strategic direction and policy support, Hon. Ugochinyere Ikenga chose to reduce a high-level public gathering to a arena for personal attacks and unverified slurs against an executive officer.

Diverting public focus away from pressingly urgent structural challenges in the downstream sector to launch an unprovoked, uninvestigated attack on Dr. Mumuni Dagazau represents a severe misplacement of priorities.

It undermines the very essence of parliamentary responsibility, substituting constructive legislative leadership with sensationalism and targeted distraction at a time when the nation desperately needs solutions, not political theater.

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While Dr. Dagazau reserves all legal rights to protect his hard-earned reputation against defamatory attacks and coordinated character assassination, the leadership of the House of Representatives should be urged to step in.

Also read: Iheanacho Extends Scoring Run in Bursaspor Win

The National Assembly must protect the dignity of the parliament by ensuring that committee oversight remains grounded in fairness, thoroughness, and due process, rather than public spectacles driven by unverified petitions.

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