Algiers after midnight: Wizkid’s CANEX concert that revealed Africa's creative complexity

Wizkid CANEX mixed performance

There was perhaps no better way to launch this ambitious fair than with a concert, and who better to headline the performance than Wizkid, the Nigerian Afrobeat superstar who has conquered dance floors from Lagos to London?

Yet as our convoy of festival-goers made the 20km journey from our CBD hotel to the elegant Opera House amphitheater, we couldn't have predicted the fascinating cultural collision that awaited us.

The 1400-capacity venue, with its refined architecture echoing Algeria's French colonial past, seemed an unlikely setting for the raw energy of contemporary African music. But as the clock struck midnight and Wizkid emerged in his signature streetwear, a deliberate contrast to the theater's formal grandeur, the space transformed into something entirely new, a meeting point between Africa's diverse musical traditions.

For 40 minutes, the Grammy-winning Nigerian superstar delivered his catalog of hits from ‘Joro’ ‘Fever,’ to the globally acclaimed ‘Essence’ to a distinctly divided audience. International visitors sang along with practiced familiarity, their enthusiasm contrasting sharply with the polite but measured response from Algerian attendees.

Perhaps more telling was his reliance on playback tracks, a choice that diminished the raw authenticity his international audiences are popular for.

Those who witnessed his electrifying live performances in London, where tickets were sold out in minutes and three consecutive shows sold out instantaneously, might have found this Algiers performance wanting.

The energy was there, the charisma undeniable, but the technical execution fell short of the standard he'd set on global stages.

Yet this imperfection became part of the evening's charm, highlighting the organic, experimental nature of CANEX itself.

The evening's most revelatory moments emerged from unexpected quarters. Kenyan DJ Coco EM's sophisticated deep house set demonstrated Africa's electronic music evolution, while South African duo Musa Keys and DNB Gogo transformed the formal theater into an impromptu dance floor.

Their Amapiano beats, characterised by distinctive piano melodies and hypnotic basslines, proved universally compelling, moving even reserved Algerian audience members to unconscious swaying.

But the night truly belonged to local hero Mouh Milano, whose entrance sparked the evening's most authentic explosion of joy. The Algerian superstar, known for his innovative fusion of contemporary beats with traditional Maghreb influences, commanded the stage with the confidence of an artist performing for his home crowd.

Backed by a masterful saxophonist whose instrument became a bridge between cultures, weaving traditional Algerian melodies with contemporary arrangements, Milano delivered hits like "Machafouhach," "EL KHAYNA," and "Deghri Deghri" that had the local audience singing every word in Arabic and French. For the first time that evening, the Opera House truly erupted.

For international visitors unable to understand the words, Milano's performance became a masterclass in musical transcendence, proving that authentic cultural expression often resonates more powerfully than manufactured global appeal.

CANEX billion-dollar investment

As the last notes faded and the crowds dispersed into Algiers' quiet streets, the CANEX Mega Concert had achieved something perhaps more valuable than a sold-out venue. It had created a microcosm of African creativity in all its complexity, contradiction, and potential.

The evening served as an appetiser for the intensive two-day creative economy program characterised by workshops and masterclasses on fashion innovation, film production, music business development, brand protection, intellectual property rights, sports marketing, and technology entrepreneurship.

Each discipline represented a facet of Africa's creative economy, collectively worth billions and growing exponentially, but one that is yet to be fully unlocked.

Last October, during CANEX WKND, Afreximbank outgoing president Prof Benedict Okey Oramah pledged to double the bank’s commitment to Africa’s creative economy with an additional $2 billion investment.

This year in May, the bank followed through with the launch of the Africa Film Fund, valued at up to $1 billion, under the Creative Africa Nexus Program (CANEX).

“This fund aims to support film production and distribution across Africa, empowering African filmmakers to create content with global appeal. It will promote the production and global distribution of high-quality films and TV series, amplifying Global Africa’s cultural influence worldwide,” Oramah said at the launch.

According to the UNESCO Institute for Statistics, Africa’s film and audiovisual sector already generates an estimated $5 billion annually and employs more than five million people. Yet the industry continues to grapple with structural challenges—limited production facilities, a shortage of advanced post-production resources, and fewer than 2,000 cinema screens across the continent, restricting access to audiences and digital platforms.

At the opening ceremony of the CANEX 2025 main programming the following morning, Afreximbank Vice President Kanayo Awani reiterated the bank's position on its effort to create a market for African creatives where every party involved can benefit.

“Africa's creative economy, currently employing over five million people and valued at $4.2 billion could realistically expand to 20 million jobs worth $20 billion with proper infrastructure and support systems,” she said during a side chat with Buzz and added, “These aren't mere financial instruments but ecosystem builders designed to transform individual talent into sustainable industries."

Among  Kenya creative ventures to have benefit from CANEX programs include fashion brand Kiko Romeo , which now showcases in Paris, Tokyo, and New York showrooms.

'Mwaki' hitmaker  Sofya Nzau is another Kenyan who has reaped from CANE. She was selected to contribute to the African album compilation ‘Cairo,’ released in 2024, produced through CANEX Music Factory funding.

 Winners of the CANEX Short Films 2025 were each awarded $2,000 (Sh257,000) with the three winning films being an animation, documentary and fiction.

Khaby Lame and Black Panther Star cameo

Marvel star Winston Duke brought Hollywood credibility to discussions about African creative potential, although his message challenged conventional wisdom.

"We don't need to keep striving to make a mark in other markets like Hollywood when we can create our own here," Duke argued, advocating for internal industry development over external validation.

His presence alongside Kenyan representatives, actress Sarah Hassan and music expert Angela Ndambuki painted a picture of CANEX's ability to attract serious international attention while maintaining focus on African-led solutions with an aim of fully monetising every African creative facet.

The exhibition floors buzzed with continental diversity, fashion designers, visual artists, and craftspeople showcasing heritage-influenced contemporary work.

And when global social media sensation Khaby Lame showed up to deliver a talk on his phenomenal rise, his security detail struggled to manage the ensuing chaos as exhibitors scrambled for endorsements and photo opportunities. Photojournalists too chased perfect shots.

Notably, the Italian-Senegalese content creator chose to visit only Senegalese exhibitor stands, a gesture that emphasised his appreciation of his cultural roots.

Algerian fashion show

CANEX 2025 concluded with an Algerian fashion showcase that perfectly encapsulated the event's central mission. Designers including The Ladymaker, Winston Leather, LarAllan, and legendary Alphadi presented collections that merged traditional heritage elements with modern design approaches.

The runway became a storytelling platform where bold patterns and elegant silhouettes expressed personal narratives extending far beyond fashion.

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