The Grammy-nominated musician expressed discomfort with what he described as a culture of exaggerated comparisons, where contemporary artists adopt the image or title of a “modern-day Fela” simply for sampling his music or echoing elements of his sound. While acknowledging that several musicians have creatively reworked his father’s songs, Seun stressed that such efforts should not be confused with equivalence.
According to him, sampling Fela’s catalogue or borrowing from his musical identity does not translate into sharing the same historical impact, cultural role, or ideological weight carried by the Afrobeat icon. He maintained that admiration and influence should not be overstretched into self-ascribed titles that rewrite legacy.
Speaking on a recent episode of the Hits Don’t Lie podcast, Seun Kuti said the trend of branding oneself as the “New Fela” was misguided and uniquely prevalent in Nigeria. He questioned why similar comparisons are rarely made elsewhere, noting that no one casually claims to be the next Bob Marley despite reggae’s global reach and influence.
His remarks come amid frequent comparisons between Fela and some of today’s biggest Afrobeats stars. Artists such as Wizkid and Burna Boy have, at different times, been likened to the Afrobeat pioneer following their use of samples and stylistic nods to his music. In the street-hop scene, performers like Bella Shmurda and Portable have gone further by openly referring to themselves as the “New Fela.”
The debate gained renewed attention late last year after rapper Olamide described Wizkid as the greatest Afrobeats artist after Fela, a statement that sparked widespread discussion across the music industry and social media.
Seun Kuti’s comments add a fresh perspective to the ongoing conversation about legacy, influence, and originality within Nigeria’s evolving music landscape, urging artists and fans alike to draw clearer lines between homage and historical comparison.