By Dwight Brown
NNPA Film Critic
(***1/2) If Afrobeats music has a king, it’s Wizkid. He wasn’t self-anointed. It’s just that his music has crossed over worldwide in a way that’s made him part of the genre’s royalty. This insightful bio-documentary, which leads up to an historic concert, corroborates that notion.
Karam Gill directs this exploration into the Grammy-winning singer’s life, career and social concerns, He thoughtfully delves into the artist’s history, background and development. All the events in his life that’re leading up to a massive show at London’s Tottenham Hotspur Stadium. An event that could attract 45,000 fans.
Music lovers who would witness history in the making as a Nigerian singer fills a gigantic venue with a breakthrough performance of contemporary African music on European soil. Ironically, in the same country that colonized his people. Call it a reverse invasion, of sorts. Poignant in scope. Kind of like the 1960s British music invasion in the U.S. Different, but still substantial.
Cinematographer Craig Deleon uses his camera to follow the artist’s path, from the suburbs of Lagos Nigeria to the mass hysteria of a British concert. It’s a long road, and how Ayodeji Ibrahim Balogun, aka Wizkid, rose to his heights is pretty well-documented. Not in the most innovative way, but accurately. Audiences who follow along will never get bored.
Editor Joshua Whitaker gamely clips scenes as short as they should be. Some of the footage has quick edits, a la a music video. Which helps to move the footage along with a steady rhythm for 83 breezy minutes. When the camera does languish, it’s at pivotal points. E.g., when Wizkid recalls his childhood or when his mother’s cancer scare happens just days before the concert.
The film gets its verve from two main sources. 1.) The indomitable spirit of the young musician who has been singing since childhood. Someone who released studio albums that flourished and was introduced to a larger international audience by his collaboration with Drake in 2016 on the #1 hit song “One Dance.” That tune topped the charts in 14 countries and hurled his career into superstardom. Yet in fairly revealing interviews, he appears humble, grateful and knows that his music industry journey is more than just about him.
His worldwide popularity can open doors for other African artists and show how the continent, as a union, has a diverse wealth of music, culture and artistry that should be shared—everywhere.
Femi Anikulapo Kuti, a noted musician and eldest son of one of Africa’s most celebrated and pioneering Afrobeat musicians, Fela, aka Fela Kuti, stresses what’s on the line: “When you see how far Africa has come you cannot ignore the significance…” That’s the crown Wizkid wears. An importance and responsibility that goes well beyond writing songs, selling records and performing. He’s the goodwill ambassador for Lagos, Nigeria and Africa and well aware of his responsibility: “Finally the world is listening to Africa. I represent for my country. I represent for my continent.” He does so while being gracious, cool and a bit rambunctious in the most charming way. The energy around him is magnetic.
Then there’s the doc’s second source of strength. 2.) The music. Wizkid’s take on Afrobeats has a pop, reggaeish feel that is addicting and contagious. A joy to hear and feel. He’s been influenced by legendary musicians like the Nigerian jùjú singer/songwriter King Sunny Adé, Bob Marley and his songs of peace, love and revolution and of course Fela. All that verve is in Wizkid’s beats. Add to it his soothing voice and trend setting style and it’s no wonder Tems, Drake and Beyonce partnered with him on hits. All that may have helped his cred, but he’s making his own path. Has his own voice, stage presence and musicians. You see clearly that he’s the mastermind who’s making very catchy music.
An endearing subplot about a young man in Nigeria, also called “Starboy,” who’s saving money and plotting his way to the concert at the stadium, is charming. A fanboy storyline music lovers will enjoy. It’s a nice addition. As are insights from Jada Pollock, Wizkid’s manager, girlfriend and the mother of his child. She gives details on Wizkid’s ascent, behind-the-scenes preparations for the big event and the pitfalls along the way. Her businesswoman point of view adds substance and dimension.
The film doesn’t hesitate to explore the complications of living in a formally colonized country that has had to relearn how to love its own culture. To swing away from European, UK and western notions of what art and societal norms should be. This is an awakening in some ways. An emergence that’s been simmering. A reckoning. A disruption. A new awareness that’s being verbalized. For example, the young man trying to attend Wizkid’s British concert needs to travel from Nigeria to the UK and is frustrated. He expresses the irony that burns him and others: “Those that colonized us are now giving us a hard time to go visit them.”
The film peaks when Wizkid takes the stage in an arena that’s filled with 40K+ fans. Blacks, whites and others. All screaming his name, singing along to songs and showing how far the artist and the motherland’s pop music have come to claim their place on the world stage. Wizkid knows the significance of the moment as he works the crowd of his admirers: “London make some noise!” And they do. Thousands bellow.
It’s been documented. A visionary artist who’s the pride of Lagos, Nigeria is also a prophet who’s spreading the gospel of Afrobeats. And a savvy team of filmmakers has given Wizkid his flowers. You gotta love their documentary’s verve.
Wizkid: Long Live Lagos is a nice addition to the 2025 Tribeca Film Festival.
Visit Film Critic Dwight Brown at DwightBrownInk.com.
