Wizkid: Long Live Lagos, the first film production about Wizkid, signifies more than a documentary. It’s a meditation on place, memory, ambition and what it costs to carry a city and generation with you as you move through the world. Rather than tracing a rise-to-fame arc, the documentary portrays Lagos as both origin and burden, illustrating how the city’s beauty, struggles, condition, and contradictions are reflected in Wizkid’s music, work ethic, and worldview.
From rehearsals to performances, reflections and other moments, the documentary reveals how Lagos continues to shape Wizkid long after global success. It shows community, creative responsibility and hard work behind the scenes.
These are six things I picked from Wizkid: Long Live Lagos.
The doc is about his Tottenham show
This documentary’s storyline attempts to explore Wizkid’s legacy as thoroughly as possible, but the central theme is the show he performed at the Tottenham Stadium in 2024. Wizkid is the first artist to perform at the 60,000-person capacity stadium after Lady Gaga (2022) and Guns N’ Roses (2022).
Wizkid performing there as the first African and Black artist is history, and this is the documentation of it, its significance and what it took to make it happen.
It’s dedicated to his mum
At the time of the concert planning, Wizkid’s mum had to start cancer treatment, meaning that she wouldn’t be able to attend the show.
A few weeks before the concert day, she died, leading many to believe that he’d cancel the show. However, he didn’t, and the show went on.
The documentary title may give a special nod to Lagos, the city that made Wizkid, but it’s dedicated to his mother, whom he also named his latest album, Morayo, after.
Family follows Wizkid to work (almost) every time. Throughout the documentary, we see Jada Pollock — Wizkid’s manager of eight years, partner of six years, and mother of two of his children — and their young child, who’s too young to be left alone, moving in proximity. The doc also shows Jada giving a glimpse into their work process, and how they merge work and family.
The Cavemen. are the show’s musical directors
Nigerian Highlife duo, The Cavemen., handled the show’s musical direction for the rehearsal and live performance.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Starboy travelled out for the first time
Don’t get it mixed up: the Starboy here isn’t Wizkid himself, nor the Canadian singer The Weeknd, who also called himself that one time. The Starboy in discussion here is a big fan of Wizkid, a mechanic, car rider, and drifter, who made his way to the U.K. just to watch his favourite artist perform.
The focus on Starboy, his decision to travel to the UK to witness Wizkid make history, and obtaining his visa just in time for the show, may seem too performative and convenient, given the difficulty of obtaining a visa in Nigeria. But it also shows how much die-hard fans will ride for favourite artists.
The doc spotlights Dencity
Dencity is a women-focused skateboard initiative in Lagos, founded by Blessing Ewona, who’s also the DJ known as WEARECHEMICALS. There’s no particular tie or story about this group in the documentary. Still, it is recognised in its exploration of how young, creative Nigerians are taking agency and shaping their own future.
Every child of a legend faces the impossible burden of legacy. When your father is a global music icon like Wizkid and you also happen to be an artist, the world is likely expecting the next “Soco” or “Ojuelegba” from you. However, the true mark of an artist is the ability to carve a space that is entirely their own. Champz, Wizkid’s son, is doing just that.
With the release of his debut EP, Champion’s Arrival, he has unveiled a sonic world that stands completely apart from the Afrobeats rhythms and loverboy melodies that defined his father’s era. Champz delivers something utterly impressive with introspection and existential themes.
This is a quick song-by-song breakdown of the EP and look into his execution of a precise but vogue style of rap music, presented by a teenager’s mind and experiences.
“Champion Montana”
Track: 1
Duration: 1m 56s
Producer: Karnz
This is the EP opener and it sees Champz drawing influence from the tough-guy gusto. With the song’s title and opening lines: “Say hello to my little friend / My nigga call me Al Pacino, ‘cause I’m really him”, Champz likens the toughness of fictional mobster, Tony Montana, to how he sees himself.
He goes on to reference 50 Cent, whose tested mortality and early branding was a reflection and capitalisation of his gangster days. But the fascination is less about crime life itself, and more about the fantasy of rebellion and success, status and identity, control and agency.
Through his bars, Champz defines himself as not just a tough guy, but a dream-chaser and money-getter: the one who either gets it or dies trying. The one not deterred by teachers’ comments and knew the way before he was taught geography.
It’s clear that a certain style of art is an influence on Champz: street art. Street raps and street (gangster movies). Though he’s a sweet 14-year-old boy who promises to keep grinding until he puts his mom in a Lambo, he aspires to operate in a boss position — perhaps a tough one like the men he references.
Standout lyrics: “I ain’t Jesus Christ, but don’t say my name in vain.”
Champz agrees he’s a nepo baby, as labelled by many (hard agree), and doesn’t want any disrespect to his talent. He acknowledges privilege but makes it clear he isn’t stuck on his parents’ wealth.
He’s also amused by the public’s surprise at his talent, bragging that he could make music in his sleep. The beat bounces after each bar, cushioning up his flows from an impressive non-threatening to a high-alert but controlled cadence.
In the same infectious energy Wizkid states in “No Lele” that, “See I go be number one / As a born champion, no lele” — Champz also declares, “If you ask people what is the latest / They’ll tell you, “Alaye, Champion Montana ti debe.”
Standout lyrics: “Give me five years, I’ll be riding on my high horse.”
“Superstar”
Track: 3
Duration: 2m 8s
Producer: Lxcid
Champz opens this song rapping about pressure, perhaps that of carrying on his father’s legacy as his first son and also as an artist. In the lines that follow, he expresses his desire to be a present parent, saying: “When I’m older, I’m gonna show love to all my kids / ‘Cause these niggas take a piss, life taught me all this.”
Without throwing a dig, what life has taught Champz about family time most likely hits close to home. He also throws shots at fake friends and hopes to one day be able to reveal his true feelings without pretence.
Interestingly, this song title is his dad’s, Wizkid’s debut album title too — but Champz’s version leans more on family, loyal circle and freedom of expression, than the allure of party and celebrity lifestyle.
Standout lyrics: “They keep saying I can’t rap, I need to have it worse.”
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
“Champion Sound”
Track: 4
Duration: 1m 58s
Producer: TNIA and Hosanna
If you heard his snippet when it went viral a few weeks back and liked it, your jam is ready. Champz channels his Afro-swing swag with a lukewarm but head-bopping delivery to brag about his arrival on the music scene.
With a strong and grounded conviction enough to convert an unbeliever, he consistently calls himself a champion. He talks big and will have to back it up with the consistency of a champion. It’s truly an impressive song from a 14-year-old.
Standout lyrics: “Shout to the OGs in the game, but it’s time to pass the baton to the champion.”
“Champiano”
Track: 5
Duration: 3m 26s
Producer: Hosanna
This is the closing track and he jumps on Amapiano here. Champz takes a break from the good bad guy bars, smug brags, spotting fake friends, and carrying societal or family pressure on his shoulders. Here, he’s only about having a good time.
He urges listeners to move and have a good time to his tune, the Champion Sound. If you’re not feeling him or just standing still in Champz’s party, he feels sorry for you. If fans like, they can call this Champz’s “What You Wanna Do?” or “Pakuromo” without booty-worship and name-drops.
Standout lyrics: “I can’t kill myself, man I’m just 14 / Step to the party, move your feet.”
Everyone talks about love online, but what’s it really like offline? We’re collecting anonymous stories for Zikoko’s biggest relationship survey yet. Share your truth here.
[ad][/ad]
Ayra Starr has built a hyper-feminine pop persona, and it’s drawn the ire of many Nigerian men online. Now, as she celebrates a Platinum certification in the UK for her Grammy-nominated hit, “Rush,” an old, ridiculous rumour has resurfaced: that she smells.
If that sounds absurd, it’s because it is — but it’s also familiar. Women who defy expectations have long been slapped with the “dirty girl” label, a last-ditch attempt to shame them into silence or submission.
It’s a pattern I’ve seen play out since childhood.
At 10, I had an outspoken classmate who never let the boys dominate the “boys are better than girls” debate. Like many of us, she probably had never done her own laundry, and her uniform sometimes had oil stains. Still, it wasn’t her hygiene that made kids dub her a “dirty girl,” it was her refusal to shrink herself. Zoom out, and we were all sweaty, messy preteens, but only she got marked.
This shaming tactic isn’t confined to playgrounds — it shows up in pop culture too.
In the 2012 movie, Dumebi the Dirty Girl, Mercy Johnson plays Dumebi, a loud, proud pastor’s daughter who refuses to conform to village expectations. After she gets pregnant by a city visitor, Frank (Kenneth Okonkwo) and moves in with him, she clashes with his fiancée (Nuella Njubigbo), who sneers that Dumebi “doesn’t know how to douche.” The insult is revealing: it has little to do with actual hygiene, and everything to do with punishing Dumebi’s nonconformity and sexual independence.
Ayra Starr’s case fits this pattern. Her short skirts have long been a target, with critics trying (and failing) to pressure her into covering up. Now, the accusation that she smells feels like the ultimate effort to shame her into submission.
A clip from her “Gimme Dat” promo video, where Wizkid makes a funny face near her, has been offered as “proof” that she smells. An old photo with Rihanna, where the singer puts her hand over her nose, is adding fuel to the baseless narrative. Ayra, for her part, has largely shrugged off the noise, focusing instead on her music and milestones.
It’s telling (and deeply frustrating) that hours after Ayra’s major achievement, the internet rushed to humble her — not with critiques of her talent, but with schoolyard-level taunts designed to humiliate.
We’ve seen this tired script before. Tacha Akide of Big Brother Naija, known for her fiery personality, was also hit with “smelling” rumours, even getting mocked by Zlatan in a song. Activist Aisha Yesufu, after a public clash with Seun Kuti last year, was also accused of “smelling.”
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
What unites these women? They are outspoken, unapologetic, and visible in public life.
Claims like “she smells” are rarely about truth. They’re about casting women as unclean, undesirable, or unfeminine — traits society weaponises to strip them of influence or credibility. Unlike critiques of skill, accusations about smell are visceral; they bypass logic and go straight for humiliation.
Many of these women — Tacha, Yesufu, and now Ayra Starr — were asserting themselves in public spaces when the accusations surfaced. That’s no coincidence. Smell accusations aren’t random; they’re reactions to women who refuse to shrink themselves.
By the end of Dumebi the Dirty Girl, Dumebi finds a new man and begins to soften. Her loud, opinionated self is finally tamed, and only then does Frank decide she’s desirable. Did the “smell” go away? Did she finally learn to douche? How did she stop being a “dirty girl”?
It becomes clear: it was never about being dirty — it was always about conformity. And as Ayra Starr’s rise shows, you can’t silence a woman who refuses to shrink.
Lagos, Nigeria, was a haven for music enthusiasts as it hosted a sensational four-day music festival. Nestled against the backdrop of its vibrant nightlife and rich cultural scene, Flytime Fest was a massive success, drawing 30,000 fans to its sold-out venue from December 22 to 25, with Gunna, Olamide, Davido, and Ayra Starr serving as the festival’s headliners.
Tyla, Wizkid, Burna Boy, Rema, Tiwa Savage, D’banj, Bnxn, Darkoo, Fireboy, Omah Lay, Fave, Ckay Odumodublvck, Shallipopi, Cobhams, and other performers were also on the bill. After the concert, Cecil Hammond, CEO of Flytime Promotions, reflected: “Gunna injected a new vibe for such a diverse and wide-reaching festival. It brings us so much joy to see Lagos as the new destination spot and Flytime is excited to be part of this transformation. Flytime Fest 2024 was another dream realized, and we can’t wait to see how much the movement will have grown by the time we return again in 2025.”
(Gunna performs at Flytime Fest in Lagos)
Gunna headlined the first night of Lagos’ Flytime Fest, a four-day music festival celebrating Africa and the African Diaspora that has previously hosted Megan Thee Stallion,Wizkid, Burna Boy, and more. Gunna hit the stage in front of a full crowd packing out Lagos’s Eko Convention Center, a premier entertainment venue in the bustling West African metropolis. After performing a slew of hits including “One of Wun,” “Drip Too Hard,” “Fukumean,” and “Yosemite,” the beat to “Jump” dropped as Tyla strutted out singing in a pilot’s cap, sequined mini skirt, and black bustier. “They ain’t never had a pretty girl from Joburg,” she purred as fans screamed.
Gunna headline set capped Flytime Fest’s Coca Cola Rhythm Unplugged concert that served as the festival’s first night. Rhythm Unplugged is a two-decade tradition that has helped break Nigerian talent like Tems and brought global acts like Ja Rule and Ashanti to the country.
As the show continued, the electrifying presence of Burna Boy took center stage, igniting a frenzy among fans who eagerly battled for the prime spots closest to the stage. His single, “Sittin’ On Top Of The World,” was met with full support from the crowd and was followed by Dave’s “Location,” “Last Last,” and an energetic performance of “Ye.” among others.
Day 2 saw Nigerian rap artist Olamide headline his three-hour long set that felt like a celebration of Nigerian music. The crowd was treated to surprise guest appearances from global superstars Wizkid, Tiwa Savage, Fireboy DML,Wande Coal, Phyno, and Pheelz, turning the night into a spontaneous celebration of Afrobeats at its finest. The crowd went wild for Wizkid, who took his time and performed a slew of hits, including “Kese,” “Essence,” and Drake’s “One Dance.” Starting from the very middle of the stage on an enormous platform, he gradually moved closer to the audience with each song, to their inexplicable delight.
(Olamide performs at Flytime Fest in Lagos)
Olamide performed a medley of his chart-topping hits, including “Melo Melo,” “Durosoke,” “Triumphant” with Bella Schmurda,and the crowd-favorite “habibi.”
Davido took the stage on Day 3, delivering a set full of his biggest hits, including “Aye,” “Unavailable,” and “Kante,” his chart-topping collaboration with Fave. A mix of high-energy anthems and intimate moments kept the crowd on their feet, while Odumodublvck joined him onstage for a thrilling live rendition of “Funds.” To cap off the night, DJ Dope Caesar brought the crowd to a frenzy with her high-energy DJ set, ensuring the energy remained high long after the final act.
(Ayra Starr performs at Flytime Fest)
The final night of the festival was headlined by Ayra Starr, whose high-octane performance showcased hits like “Away” and “Sability,” along with tracks from her critically acclaimed album The Year I Turned 21. But it wasn’t just Ayra who got the crowd moving. Rema, one of the fastest rising stars in Afrobeats, made a surprise appearance, delivering pulse-pounding performances of “Ozeba” and “Azaman.” The surprises didn’t stop there – a rare duet between Tiwa Savage and Ayra Starr left fans speechless, showcasing the timeless appeal of Nigerian female talent
Flytime Fest 2024 also featured an emotional tribute to the history of the festival with a special photo collage celebrating Flytime’s 20-year journey. From its humble beginnings in 2004 to becoming a global phenomenon, the images reminded the audience of how far the Afrobeats movement has come and how much it has shaped the sound of modern music.
Flytime Festival will return for its twenty-first edition in December 2025.
The Nigerian entertainment industry luminaries who attended Wizkid’s mother’s burial in October 2023 reinforced a reality obvious to even the most casual observers: He’s what he called himself on his 2011 debut album, “a superstar.”
After enticing the audience with the genre-bending EP S2 last December, the 34-year-old singer promised to immortalise his mother with a follow-up album, Morayo, his mother’s name, which means “I found joy.”
A year later, Wizkid delivered his sixth studio album, which has 16 tracks. P2J produced fourteen tracks, and P.Priime and DAMEDAME* produced the other two. Wasiu K1 Ayinde’s performance at Wiz’s mum’s burial kicks off the album on the track “Troubled Mind.” It vibrates with gangan and djembe.
For those who aren’t in tune with Yoruba culture, the album might come off as less of an introspection on his mother’s life and the bond that they shared and more of his usual commentary on lust and life in the fast lane. But among Yorubas, death is a time for huge celebration if the deceased was elderly. This is his current state of mind: the existential crisis of how he can make merry in the face of deferred mourning.
Late MorayoBalogun (Wizkid’s mum)
Morayo is upbeat, party-ready, less experimental and influenced by 2010 Afrobeat sounds. “Karamo” and “Kese” celebrate the rich spenders, igbeaux smokers and the gorgeous women who can twist and turn. They’re turn-up, feel-good jams, filled with the familiar hallmarks of Afrobeats music—percussion, up-tempo melodies and surface lyricism—that disagree with Wizkid’s infamous statement that he isn’t an Afrobeats artist last year.
In these songs, Wizkid leans into the escapist ethos of Afrobeats. Afrobeats as a genre is a distraction that eases the troubled mind. Whether you’ve lost a loved one or lost your job, with Afrobeats, you must retire to your lounge, set eyes on a love interest, smoke something and dance.
The album continues with “Bad Girl,” featuring Asake. In this their second collaboration, the duo shouts out Monaco and Caribbean babes. The song, sounding more like an Asake record, shows that they share a chemistry that burns beyond their shared love for cannabis.
Morayo gets laid-back and breezy in “Time,” as Wizkid continues his romantic yearning with assistance from Alté music savants Tay Iwar and AYLØ. Their collaborative effort strengthens Wizkid’s branch into the alternative music scene. He still holds tight to his obsession for his lover, the music crossbreeds R&B on “Pieces of My Heart” featuring Brent Faiyaz and dancehall on “Break Me Down.”
“Bend” calls for dancing; throw your hands in the air, feel good. “A Million Blessings” plays next and adjusts the pace. It’s not too fast to make your dance rump up dust, and it’s not too slow either. The themes and talking points of the songs hardly shift from loving up, taking the lead, flying out baddies, cloud nine trips, staying young, fresh, and living like a superstar.
France’s Tiakola makes an impressive guest appearance in “Après Minuit”—not Wiz’s first rodeo with French artists. Remember MHD’s “Bella”? Wiz’s continuous exploration into American R&B manifests in “Bad For You” with Jazmine Sullivan.
“Soji” and “Slow” featuring Anaïs Cardot further express love and bedroom rompers.
Late into the album, “Don’t Care” provides a pompous and confident Wizkid—he proudly looks back at his longevity. He’s reminded again that his spot isn’t really up for taking. He’s carefree.
He’s introspective on “Lose” and “Pray.” The closing track particularly pours a relief on the troubled mind that opens this album. He finds succour in his music, his vices and his faith. He also has the assurance that his late mum prays for him from above—nothing screams, “She remembers me,” than this.
If we take out the grief and memorial factor of the album, the end result is a close perfection of his recent projects: SoundMan Vol. 1, Made in Lagos, and More Love LessEgo. Morayo gleams with joy. There are romantic yearnings and sexual innuendos here and there. There are more sweet hooks and lyrics rooted in marijuana smoke, hustle and ballers yarns, smug brags, and experimental Afrobeats production. Though the music gets monotonous, it isn’t complicated.
He didn’t need to mention his mother or make the song titles morose, but there are hints of intense sadness and his voice baked with grief. Wizkid focuses on his job, leaves almost no chances for vulnerability for the audience—his ego and masculinity won’t let him. He tries not to trip while he continues to step in the shoes of a man who wears his heart on his sleeve. Invoking Morayo, Wizkid celebrates the dead, offers an update on the life of an Afrobeats superstar, as he searches for his next guidance after his matriarch’s demise.
What does it mean to be a member of the Wizkid FC?
It’s been over a decade since the intriguing Wizkid arrived on the scene and gained ground as an Afrobeats musician, contributor, and superstar.
In the years that he has reigned as one of the big three Afrobeats artists, there’ve only been a few groups that better define stan culture, like Wizkid FC, the cult of hardcore fans and supporters of his work, who for years have gone to hell and back in his defence.
As he rose to the top to become one of the most controversial figures in contemporary Nigerian music, they have been steadily behind him all through the years—when he left the record label that made him famous, EME, when old reckless rape jokes he made as a teenager resurfaced online, when the public bashed his music, when he waged his war against Davido, when he lost his mother.
In anticipation of his latest offering, Morayo, his sixth studio album, in two days, it seems a perfect time to peer into the minds of his fans. I chatted with two members of Wizkid FC, about what it means to be a Wizkid fan, why they love him so, how they have defended him, being misunderstood, and more.
As told to Tomide by Sixtus and Basito.
On how they found Wizkid’s music
Sixtus: I have been down with Wizkid since my teenage years. M.I Abaga’s “Fast Money, Fast Cars” introduced Wizkid to me. I’m a M.I fan, but when that song hook came, I was like, “Who’s bussing like this?” His style had a fresh, young and vibrant aura to it and the lyrics were relatable. I was also drawn to his personality.
Basito: My first memory of Wizkid is tied to songs like “Oluwa Loni,” “Shout Out” and “No Lele.” His music makes me feel energetic, happy and less bored. I get bored easily and quickly, but not when it comes to Wizkid’s music. In a matter of seconds, it can take my mood from 0 to 100. Even now, I still burn with inferno every time Wizkid’s music drops.
I can’t forget the first time I attended his show in 2014. It was Moov Wizkid Live in Concert in Abidjan, Ivory Coast. Traffic was everywhere, so I got to the concert when he performed “Ojuelegba,” three minutes before the show ended. On my way back home in the middle of the night, the bus dropped me off at a very dangerous location. I was a bit scared, but my street OT kicked in: I rolled one leg of my jeans up, rolled one sleeve of tees up as well and started walking like a thug, just to blend in the environment and not be picked on by the miscreants there. It was an unforgettable, wild night because I went to see Wizkid live on stage.
On what Wizkid’s music does for them
Sixtus: When I think of his music, it’s a music of comfort. Something you listen to and enjoy at all times, no matter how long time passes by. My love for Wizkid’s music evolved alongside him. As his style changed, I leaned towards it and embraced it. I took it as the directions he wanted to go, the directions that needed to change when the time came.
Basito: I have a personal moment with Made In Lagos. The album dropped at a particular point in my life when I worked 9-5 as a digital marketer, and it was choking the hell out of me. The music was my happiness. Every time I listen to the album, I wish I could go back to the very first time I heard the first track on it and feel that euphoria all over again.
I’m also drawn by his artistic approach to music. He’s inspired a young generation to become artists and be self-confident.
On being a card-carrying Wizkid FC member
Sixtus: Made in Lagos and More Love Less Ego did it for me too. The latter, particularly because it’s what I always listen to when I need to relax or when I get tired of other people’s music.
But it’s more than his music for me. It’s the charisma Wizkid exhibited from the come-up, the growth on the way, the mistakes he made, and how he grew from them. His simplicity in the complexity of being Wizkid, being able to make such amazing music, and be chill about it is exceptional. Even when people misunderstand him, he’s quiet and laid-back.
It’s why we’re always ready to defend, protect and speak positively on our President Wiz. He barely talks, so we do the talking when people want to show him in a negative light. We show them how good he is and why he’s one of the greats.
To be part of Wizkid FC means to be a soldier, a ride-or-die for Wizkid because we know no one would do this for him aside from us. I see us as more of mercenaries doing the groundwork of streaming, showcasing and letting the world know our local hero is a global phenomenon and we are a part of his legacy and community.
Basito: For me, to be a Wizkid FC is to be resilient, hardworking, and never settle for less. He never relies on only his talent. He knows what to say and when to say it. He doesn’t take any bullshit from anyone, and he values family. I relate to how he sees these things and life. Wizkid FC is often misunderstood, but we aren’t troublesome.
On defending Wizkid
Sixtus: People tend to shade Wiz, and he says nothing. The FC stays on guard to ensure that when someone says something that might not be true or makes a negative opinion, we first correct the narrative so as not to let it slide as a shade. We also try to decode whether it’s a shade or a personal opinion. So, we fight first and ask questions later. When you spread lies about Wiz, you don’t expect the FC to look away.
While coming up, Wiz got a lot of hate after the birth of his first kid. People judged him for being too young, being a dropout, leaving EME, being more international and reserved. People projected a lot about what he should be like, not knowing he was a kid growing up in a new terrain.
The only part I won’t absolve him from was when he had an issue with one of his baby mamas and she shared screenshots of their chats. He wasn’t actively involved as he should have been in parenting and to me that was sad to see. But I think he overcame his mistakes and is now trying to do better.
I believe that we can separate the music from the artist. An artist is a human being, the same as all of us. But their craft is an extension of who they are as a person, which means they’re sharing a part of who they are and what they believe in with us. For example, when he was younger, I could relate to him in a way because I lived a fast life at the time, too. I followed his trends in dressing, parties, and women.
Aside from that, he’s never been problematic. The public doesn’t just give him grace. He barely talks, so that’s assumed as pride, or he’s acting like he’s superior to others, whereas he has always been the type to only speak when he has something sensible to say. The FC knows this, so we must have his back because he can’t do it alone. He might be quiet, but we won’t be quiet. We’ll continue to spread the gospel and let people know who he is in a positive light.
For instance, on Monday, when the song displacement happened on Apple Music, I was sure it was a glitch due to the surge of heavy traffic gains. Most people weren’t even sure what had happened; they just jumped to conclusions and spread lies about stream farming. So we had to come all out and not let the stupid narrative hold.
Basito: There’s no way a Wizkid song as hot as “Kese” will leave the number-one spot like that, let alone drop out of the chart completely. Not like I worry whether it’s top-charting or not, but I’m confident his songs will always do numbers and top charts. I still listen to “Lagos Vibes,” which didn’t even get an official release.
Sixtus: I don’t really care about chart numbers, so long as the music is being heard and appreciated. That’s good enough. Take a look at “Essence,” for example: despite not having Rema’s “Calm Down” or Ckay’s “Love Nwantintin,” large numbers, they’re widely appreciated and loved. Anyway, being on top is good for bragging rights.
Basito: I wish he could promote his music more and better, though. His songs can get bigger than they do. Take “Joro,” for instance. The song could have been ten times bigger if it had been promoted well. It was never on any playlist with significant impact; it has only a five-million playlist reach on Spotify.
On Wizkid trolling Davido
Sixtus: I think he can improve more on interacting with his fans. Also, the online trolling of Davido needs to stop. It isn’t something I’m cool with because I expected him to do this during Sounds From the Other Side and Made in Lagos periods when the shades and insults were much because of his style of music. It’s good to set the record straight. I support that, but we should focus on the music now and leave all that.
Basito: When I look at him and what is happening with that Davido, I see someone who has had enough of the disrespect he’s been getting from the others.
Sixtus: The trolling of Davido is fueling the FC and could also be a much-needed ginger in anticipation of the new album. More importantly, I hope Morayo is full of happiness and positive vibes—something worth going back to from time to time.
After over 13 years since Wizkid’s Superstar debut, Starboy has given us countless hits, collaborations and moments that won’t fade away in a long time. To stretch his music catalogue, he’s announced Morayo, his sixth studio album slated to be released on November 22, 2024.
While we wait for Morayo, we dive into Wizkid’s acclaimed music projects, ranking his works from the best to the least enjoyable. From Superstar to S2, we revisited the albums and EPs that have cemented Wiz’s status as one of Afrobeats’ legends.
6.
More Love, Less Ego (2022)
In November 2022, just a year after the debut of the deluxe Made in Lagos, Wiz released More Love, Less Ego —a mesh of pop, Afrobeats and R&B. This album feels like a drawn-out session of Made in Lagos, repeating similar sonic templates, flows and melodies. Quit honestly it is the last in this ranking because of was not daring, was boring. It didn’t try to go outside the comfort zone of previous successful albums from Wizkid.
5.
S2 (2023)
Although this dropped around the demise of his mum, Wizkid understood that variety is the spice of life on S2, a follow-up to his Starboy label’s Soundman Volume 1 project. In four tracks, Wizkid served diverse music styles that switched up his tempo from the laid-back Made in Lagos and More Love, Less Ego. S2 is very experimental and fun. As we said in our review of the project, it’s a prelude to Morayo.
4.
Ayo (2014)
This is Wizkid’s second album and can be called his album with the most hits, being home to Jaiye Jaiye, In My Bed, Show You the Money, On Top Your Matter. Though few songs in Ayo are as introspective as “Ojuelegba” and “Joy,” its general fast-tempo direction attracts party animals and young people looking for fun. We may never get this party version of Wizkid again, but the hits from Ayo will continue to turn up functions even decades from now.
3.
Sound from the Other Side (2017)
There have been arguments that this album didn’t strive or gain notoriety due to its mixtape tag, R&B sonic direction, and serious lyricism (a deviation from the usually playful Afrobeats lyrics). But these qualities are what distinguish Wizkid’s third album and first major label debut among his other offerings. “SFTOS” is soft, expressive, and bold.
2.
Made in Lagos (2020)
The fusion of R&B and Afropop shines bright on “Made In Lagos”, Wizkid’s special nod to his city of childhood.
Years before Wizkid released the critically acclaimed “Made In Lagos” album in 2020, his fans begged and asked him several times for a new album. Just nine days after its release, it crossed over 100 million streams across five streaming platforms, received praise from listeners and both local and foreign media, and became the best-selling African album of all time in the US.
1.
Superstar (2011)
Superstar is Wizkid’s first album, released under Empire Mates Entertainment (EME) in 2011. A year after his hit single Holla At Your Boy, his debut album came out to ground his feet as Nigeria’s contemporary music new pop star. Not only because he was the hottest kid on the block, had a sort of cool demeanour, or the star-studded features, he was at his most adventurous phase. The album explores different genres like Hip-Hop, R&B, Reggae and Fuji, and themes like romance, love, ghetto upbringing and his grass-to-grace story. A decade has passed since the release, but at least six songs on it still raise the roof anytime they’re played.
The producers of Wizkid’s “Holla at Your Boy” are?
The artist who featured as cameo in Wiz’s “Oluwa Loni” music video is ____
The “Superstar” album was released what year?
The album has how many tracks?
How old was Wizkid when he put the album out?
He released the album under which music label?
What song did Wizkid call out Funke, Halima and Tolani to dance?
Who directed the “Holla at Your Boy” music video?
“Holla At Your Boy” sampled which song?
Which song did Wizkid give shouout to his friends and colleagues?
You got #{score}/#{total}
WizkidFC admin, is that you?
You got #{score}/#{total}
Good effort but nahhhh.
You got #{score}/#{total}
Ugh? Zero ball knowledge, mate.
In January 2023, Davido and Wizkid announced a joint tour that finally put to bed rumours of their age-long beef. However, one year and four months after the announcement, the singers appear to have taken a U-turn following a public faceoff on social media.
Their potential joint tour now hangs on a thread.
What happened?
On April 29, Wizkid went on a wild rant on X, formerly known as Twitter, coming at colleagues unprovoked and clapping back at fans.
Things took a turn when a fan asked the singer to release new music, and he responded with an embarrassing video of Davido where he was on his knees begging an unidentified person.
The Davido video went viral weeks ago in the heat of cheating allegations against his wife, Chioma.
While Wizkid’s tweet might have been pure banter, Davido didn’t seem to take it well. The singer took a direct sub at Wizkid’s music.
Unlike the past where both singers threw subtle jabs and left fans to speculate, what followed after Davido’s tweet was a no-filtered verbal attack against each other.
In response to Davido’s tweet, Wizkid clapped back at the singer, saying “You still not on my level”.
Wizkid also made standalone tweets on his TL where he called Peruzzi a “pant washer” and stated that Davido’s crew has nothing on him. He claimed the entire 30BG crew members are delusional.
This was Davido’s response to the tweet:
Also responding to the “pant washer” tag, Peruzzi had this to say to Wizkid:
And Wizkid, yet again, responded with Davido’s viral clip which started the entire back and forth.
Davido’s response:
In another post Davido shared on Instagram stories, he came after Wizkid claiming he has no hit records. He also dared the singer to release music on the same day as him.
Get a free ticket to Strings Attached and enjoy a feel-good evening of music, dancing and games at Muri Okunola Park, Lagos on May 11, 2024.
How are the fans reacting?
As expected, the faceoff has stirred different reactions from fans of both singers.
However, others have expressed worry about the implications that lie ahead.
Only Wizkid’s listeners have all the tea about his relationships. If you don’t know these songs where he spilled the gist, it’s time to leave Wizkid FC and find another fandom to disgrace.
“She got her own, but she need some love”
“She tell me say she no shako si mi o woah”
“She tell me bad man see I need your love”
“She tell me say she love me every day without remorse”
“She tell me, “Wizzy, control me””
“She tell me say na me go be her mentor.”
“She tell me say na you dey make me slow down”
“She tell me every day she wanna see me, ooh-yeah”
“She say she gimme ghetto loving, tell me say I really-really don’t know”
“But she tell me say she really love me pass me”
You got #{score}/#{total}
You should be the Chairman of Wizkid FC. We’re solely behind you.
You got #{score}/#{total}
You’re still new to the party. Keep rocking.
You got #{score}/#{total}
Your FC card is revoked with immediate effect.
Psst! Have you seen our Valentine Special yet? We brought back three couples we interviewed in 2019 – one now with kids, one now married, and the last, still best friends – to share how their relationships have evolved in the last five years. Watch the first episode below:
