Nigerian hip-hop powerhouse, Olamide Adedeji, widely known as Olamide Baddo, has clarified the long-held belief that he and Afrobeats icon, Ayodeji “Wizkid” Balogun, began their careers at the same time.
In a fresh interview that has generated intense conversation across social media, Olamide stated emphatically that Wizkid is his senior in the music industry, noting that the Starboy frontman began releasing music professionally at least two years before he did.
The revelation comes as a surprise to many fans who have, for over a decade, regarded both artistes as industry peers — largely because they became breakout stars in the same year and were jointly nominated for the Next Rated award at the 2011 Headies.
While both were considered the faces of a new wave of Nigerian pop culture in the early 2010s, Olamide has now offered clarity that reshapes the narrative.
Speaking during an appearance on streamer Azeeez’s programme, the YBNL founder explained that Wizkid had already been recording and publishing music before his own emergence into the mainstream.
According to him, the timeline is clear: Wizkid had a head start.
“Wizkid and I didn’t start doing music at the same time.
He started a year or two before me; he was already putting out music before I came,” Olamide said, dismissing the common assumption that both artistes rose through the ranks simultaneously.
His comments add a new layer to the ongoing cultural discussion about the generation that transformed Afrobeats into a global force.
Before the explosive success of ‘Holla at Your Boy’ in 2010 — the record that established Wizkid as a household name — the Starboy had been developing his craft behind the scenes.
He appeared on M.I Abaga’s 2008 hit, ‘Fast Money, Fast Cars’, a feature that introduced him to attentive listeners long before he became a global sensation.
The track served as a formative milestone, proving that Wizkid’s foundation had been laid much earlier than many fans recall.
Olamide’s own breakthrough came months after Wizkid’s 2010 smash hit.
With “Eni Duro,” a gritty and authentic street-rap anthem, Olamide carved a lane that set him apart.
His rapid ascension from Bariga’s underground scene to mainstream dominance cemented his reputation as a defining force in indigenous rap.
Nonetheless, he maintains that Wizkid was already ahead, establishing a professional presence before his own journey took flight.
This clarification arrives during a period of renewed public interest in both artistes’ early beginnings, particularly as Afrobeats enthusiasts frequently debate the legacies and timelines of leading figures in the genre.
Olamide’s statement underscores the respect he holds for Wizkid’s contributions and acknowledges the longevity of the Starboy’s career.
Industry observers note that this clarity may help reshape conversations that often pit both artistes against each other.
Despite public comparison, Olamide and Wizkid have maintained a cordial and mutually respectful relationship over the years. Their collaborations and public interactions consistently reflect admiration rather than rivalry.
The duo’s shared nomination in the 2011 Headies Next Rated category — which Wizkid ultimately won — contributed overwhelmingly to the public perception that they entered the industry simultaneously.
The award, one of the most influential recognitions for emerging Nigerian artistes, often serves as a symbolic marker for when an artiste officially becomes part of the mainstream.
For many, that moment blurred the fact that their entry points differed.
Olamide’s recent remarks also align with several past interviews where he has credited artistes such as Dagrin and 9ice for influencing his career direction.
By acknowledging Wizkid’s seniority, he reinforces the importance of understanding artistic timelines and appreciating the efforts of earlier contributors.
Fans on social media have reacted with mixed emotions.
While many appreciate Olamide’s honesty and humility, others argue that their impact, rather than their start date, is what truly defines their generation.
Regardless, the discourse reflects how deeply rooted both artistes are in the history and evolution of contemporary Nigerian music.
As Afrobeats continues its global dominance — with artists like Wizkid, Burna Boy, Davido, and Olamide pushing the genre to new heights — conversations about legacy, hierarchy, and cultural influence remain at the forefront.
Olamide’s clarification therefore adds a factual layer to these ongoing debates.
By reaffirming that Wizkid is his senior in the music industry, Olamide has provided fans with a clearer understanding of the timeline that shaped one of the most defining eras of Nigerian music.
And for many, this transparency further cements his reputation as one of the industry’s most grounded and authentic voices.
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