Na wa o. Are we now at the point where it is reasonable to ask whether Wizkid is becoming less relevant in the grand scheme of world music?
I remember raising eyebrows when Wizkid was absent from a major global performance and calling out Wizkid FC over the issue. Nobody seemed particularly interested in responding. But looking at the situation again, I am beginning to wonder whether it is realistic to argue that Wizkid’s career may be losing momentum and that the superstar who once occupied an unquestionable A-list position could gradually be heading toward B-list status.
Of course, that is a controversial argument, and it should not be made without taking a trip down memory lane.
One thing we can establish with the facts is that “Essence,” featuring Tems, was released in 2021, and it became one of the biggest Afrobeats crossover records ever. The song earned Grammy recognition and became a defining moment in the global rise of Nigerian music. Tems’ performance was undeniably one of the major reasons the record connected so strongly with audiences worldwide. However, there is no verified evidence that she wrote the majority of the lyrics, so that part should remain speculation rather than fact.
But the larger argument remains: what has been Wizkid’s next truly career-defining global record since “Essence”?
Wizkid has certainly released music and remained commercially relevant. His 2022 album More Love, Less Ego generated considerable attention, while his 2024 album Morayo featured major names and demonstrated that his star power had not disappeared. Yet, for an artiste of Wizkid’s historical stature, the conversation is no longer simply about releasing successful songs. It is about whether those songs can dominate the culture in the way his biggest records once did.
That distinction matters.
There was also the highly publicised issue surrounding an alleged contract or business relationship that reportedly could not be renewed and was subsequently associated with Davido. The controversy generated substantial social-media reactions and became another chapter in the never-ending Wizkid-versus-Davido narrative. However, the specific contractual details surrounding that claim have not been sufficiently established by reliable public sources, so it is better understood as part of the social-media controversy rather than settled fact.
Then came the explosive debate over Wizkid, Fela Kuti and the question of who is greater or more influential. Wizkid’s comments about Fela triggered fierce reactions from Seun Kuti and other defenders of Fela’s legacy.
That period was particularly revealing because it placed Wizkid’s contemporary superstar status against Fela’s historical and cultural legacy. And in 2026, the comparison became even more striking when Fela Kuti posthumously received the Grammy Lifetime Achievement Award, becoming the first African artist to receive the honour. The recognition further demonstrated how deeply Fela’s influence has travelled across generations.
Today, Wizkid is certainly not irrelevant. His catalogue, international fan base, awards, collaborations and influence remain too substantial for that conclusion to be taken seriously.
But something has changed: the burden of proof has shifted.
There was a time when Wizkid could release a record and immediately become the centre of the conversation. Today, many people are asking when the next record capable of matching or surpassing his previous heights will arrive.
Even his collaboration with Asake on “MMS” demonstrated that Wizkid could still make a strong contribution to another superstar’s project. The Guardian described Wizkid’s appearance on the song as a calming presence on Asake’s Lungu Boy. Yet, it did not produce the kind of overwhelming Wizkid-led cultural moment many expected from him.
And then came the 2026 FIFA World Cup.
Burna Boy was involved in the official World Cup musical programme, performing alongside Shakira, including at the tournament’s historic final halftime show. FIFA officially confirmed his participation.
Davido has also remained highly visible on the international entertainment circuit.
Wizkid, meanwhile, was nowhere to be found on that particular global stage.
That does not mean Wizkid is finished.
It simply raises an uncomfortable question for Wizkid FC and the wider Afrobeats audience:
Is Wizkid still setting the pace, or are we now living on the strength of the enormous legacy he has already built?
That is the real debate.
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