This article seeks to make a comparative study of lyricism, populism and Negritude in Léon-Gontran Damas’ lyrical poetry and Fela Kuti’s Afrobeat music. Whereas Damas is from French Guiana in West Indies, Fela is from Nigeria in West Africa. Using the philosophical theory of Negritude and populism literary school of thought, the research made a critical comparative analysis of two different lyrical artistic productions to reveal their areas of convergence as well as divergence. In the study, four poems of Léon-Gontran Damas (“Sale”, “They Came Tonight”, “The Blues” and “The Black’s Lament”) and four of Fela Kuti’s musical tracks (“Colonial Mentality”, “Gentleman”, “Casket for the Head of State” and “International Thief Thief-ITT”) were analysed based on comparative methodology. Firstly, the research revealed that Damas’ lyrical poetry and Fela’s Afrobeat music are both rhythmical based on their repetition of simple lyrical words. Secondary, the two artistic creations emphasize populism, a political and literary concept in which ordinary people’s rights are defended against established privileged groups and individuals. Thirdly, both creativities rely on the philosophy of Negritude, which is a social and literary movement that seeks reclamation of original values of Black people, whether on African continent or living in diaspora. The study concludes that although Fela’s Afrobeat is largely related to Damas’ lyrical poetry, there are certain differences. The most important divergence resides in the language use. Damas employs pure French in his poetry while Fela relies on Nigerian Creole English, sometimes mixed with his native Yoruba language, to convey his message.