Wizkid is amazing and blessed. The Nigerian pop star has recorded with Angelique Kidjo, recorded a hook with Coldplay’s Chris Martin for pop star Rihanna. A performance with Chris Brown was in the works also in South Africa at the ‘X Tour’, so was another recording with UK star Tinie Tempah, Norwegian pop icons Nico & Vinz, and US star Ty Dollar Sign.
There were doubts about the nature of the singer’s relationship with Drake after the rapper dropped a verse on ‘Ojuelegba’ last year. Many analyzed the singer’s relationship with the rapper, opining and assuming that Wizkid and Drake have never met, and will never meet, despite the song’s recording. But turns out opinions are cheaper and easier to swallow and obtain than facts, and assumptions aren’t exactly the highest and most reliable form of knowledge.
Two days ago, Drake dropped two singles, ‘Pop style’ featuring Kanye West and Jay Z, and ‘One dance’ featuring Wizkid and Kyla. ‘One Dance,’ which based on snap judgement first reactions probably looks like the lesser contender of the two but turns out to be the much more satisfying meal. On "One Dance," the 6 God gets assists from Wizkid, who he worked with last year, and Kyla, sampling the Crazy Cousinz remix of her song, 'Do You Mind'. Drake is the one leading this one dance, though, Hennessy in hand of course.
The mood from the country simply flipped into two groups with the first comprising of Sentimentalists, cynics, and haters who provide just emotional premises to attacking the limited role the singer plays on the record. Wizkid appears twice on the song, faintly combining his vocals with dance-immersive percussion as he fires off:
“Got a pretty girl and she love me long time
Wine it, wine it, very long time
Oh yeah, very long time
Back up, back up, back up and wine it
Back up, back up and wine it, girl
Back up, back up, back up and wine it
Oh yeah, very long time
Back, up, back up and wine it, girl”
The other group, which I am a proud part of, consists off the logical folks (Empricists), and Wizkid fans, who are just happy to have Wizkid on a Drake single and appreciate the business and career implications for Wizkid. With Starboy getting due credit for his role on the song and analyzing the possibilities, you have an endless stretch of scenarios where Wizkid wins from that ‘flimsy’ bridge.
Let’s dissect both schools of thought.
The sentimentalists have a valid argument that can only be understood when reviewed from a perspective of blind pride and shallowness. Wizkid is arguably the biggest act in Africa, and shouldn’t be treated to the disdain of a bridge. That’s another level of ‘Passive Artistic Classicism’. It is a form of neo-oppression, based on perceived artistic stratification and bias. It is right up there, with its evil cousins – Racism, Homophobia, Sexism, and Apartheid.
The above paragraph is pure crap, and people who reason on this level have no business in pop culture.
What ‘One Dance’ means for Wizkid’s career is the publicity gotten, and the opportunities that stem from it. The singer, if he stays focused, will have his works on many other songs, crossing over on an international level. The business end of this collaboration also requires that the singer gest paid royalties, long after this song stops charting. He has production and vocal credits on the single, hence his publishing money will keep coming in.
This is what music is about. Sentiments and passion are what fuels the industry, but the overall goal is the profits that get raked in. Wizkid has profited from this collaboration, and that’s all that counts.
Every other wailer is just a pessimistic hater that doesn’t count.