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“Old Man”? Wizkid Fires Back at 2Baba After Veteran Ranks Burna Boy Above Him on the Global Stage

In a dramatic and unexpected twist that’s dominating Afrobeat headlines, Nigerian global music icon Wizkid has publicly pushed back against legendary artist 2Baba following comments the veteran made about the global positioning of fellow superstar Burna Boy. What initially seemed like a casual opinion has escalated into a narrative that has captivated music lovers — and even reignited debates over who really leads the charge for African music on the world stage.

How It All Started: 2Baba’s Verdict on the “Big 3”

The controversy began when Innocent Idibia, better known by his stage name 2Baba, appeared on the Mic On Podcast with host Seun Okinbaloye. In the interview, the respected veteran weighed in on what many fans refer to as the “Big Three” of Nigerian music — Burna Boy, Wizkid, and Davido — ranking Burna Boy as the artist currently leading the pack not just in Nigeria or Africa, but globally.

According to 2Baba, his assessment wasn’t based on numbers like bank accounts or personal fame, but rather on global impact, artistic reach, and influence across international markets. He described how Burna Boy’s unique style and expansive footprint have elevated him to a place he believes is ahead of his peers on the international stage.

Wizkid’s Sharp Response: “Old Man” and More

Rather than welcoming 2Baba’s perspective, Wizkid reacted sharply, sparking even more online controversy. Using Snapchat as his platform of choice, the Grammy-winning artist didn’t mince words. He suggested that 2Baba should focus more on his personal affairs — including family issues — before commenting on matters of music hierarchy. Wizkid’s terse remarks indicated that he viewed 2Baba’s commentary as disrespectful and dismissive of his own global achievements.

This reaction sent shockwaves through social media, driving fans of Wizkid — known collectively as Wizkid FC — into heated discussions with followers of Burna Boy. Memes, threads, and debates erupted over who truly deserves the title of Africa’s most influential global artist at this moment.

Why the Debate Matters: The “Global Stage” Isn’t Just Local

This dispute isn’t just celebrity squabbling — it captures a much larger narrative about Afrobeat’s ever-expanding influence on the global music industry. Artists like Burna Boy and Wizkid have both already laid substantial global groundwork:

Burna Boy has become one of Africa’s most visible musical ambassadors, with multiple appearances on major U.S. platforms such as The Tonight Show Starring Jimmy Fallon — reportedly more than any other Nigerian artist — and achievements like Grammy recognition that underline his cross-continental appeal.

Wizkid, meanwhile, helped blaze the trail for Afrobeat’s global breakout years earlier, becoming one of the first Nigerian artists to reach global charts and collaborate successfully with international stars. His influence is undeniable, with his hits frequently topping global playlists and gaining acclaim from other music stars.


So when a veteran legend like 2Baba suggests that one artist is currently “ahead” of another, it doesn’t merely rest on ego — it reflects broader conversations about chart performance, streaming dominance, international collaborations, and influence in markets like the U.S. and Europe.

The Legacy Factor: Respecting the Pioneers

It’s also worth noting that this entire debate unfolds against a backdrop where Afrobeat’s roots and legacies continue to be revered across generations. The late Fela Kuti — widely acknowledged as the genre’s founding father — remains a reference point for artists today. In fact, Burna Boy himself recently affirmed his respect for Fela’s legacy, calling the Afrobeat legend “king” and placing him above even himself.

This context adds depth and a sense of continuity to debates about who is the “greatest” or who leads currently. It’s a reminder that African music’s influence didn’t appear overnight — it has grown through decades of pioneers, influencers, and global breakout acts.

Fan Wars, Social Media Firestorms, and Industry Implications

Online reactions have been as intense as the artists themselves:

Wizkid fans clapped back fiercely, defending their favorite’s status and pointing to his Grammy wins and international collaborations as proof of enduring relevance.

Burna Boy supporters echoed 2Baba’s sentiments, citing his expansive global footprint and recent achievements as evidence of his deserved “top position.”

Neutral observers have praised both artists for their contributions, arguing that Afrobeat now has multiple global flag-bearers, each with a unique style and influence.


These reactions show just how passionate audiences are — not just about music, but about representation, identity, and the global narrative of African art.

What This Means for Afrobeat’s Global Future

Whether you support Wizkid, Burna Boy, or simply appreciate both, this ongoing conversation highlights how far Afrobeat has come. Once restricted to local and regional airwaves, Nigerian music today dominates global streaming charts, collaborates with world-renowned artists, and wins prestigious international awards. That evolution is significant for African music culture — and debates like these show that fans and industry figures alike are paying close attention.

In Conclusion: More Than Just an “Old Man” Comment

The backlash from Wizkid following 2Baba’s ranking of Burna Boy over him isn’t merely about personality. It reflects:

Personal pride and legacy in a competitive creative industry

The value of global perception and influence in today’s music landscape

A broader cultural movement as Afrobeats continues to break barriers worldwide


For now, the conversation will likely continue online — fueled by fan engagement, social metrics, and whatever comments the artists themselves may share next.

But one thing is clear: Afrobeat’s global footprint is stronger than ever, and debates like this only underline how deeply its stars resonate with audiences around the world.


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