As Nigerian stars fall short again at the Grammys, questions resurface about representation, relevance, and Africa’s place in global music recognition, Vanessa Obioha writes
Following Davido’s third consecutive loss at the Grammys, the singer has reignited debates about the need for an African Grammys. At the 68th Grammy Awards held last weekend in the United States, Davido lost to South African star Tyla in the Best African Music Performance category. He has been nominated in the category since its debut in 2024. Since then, the award has gone to Tyla in 2024, Tems in 2025, and again to Tyla this year. Burna Boy and Ayra Starr were among this year’s nominees.
Davido’s latest loss sparked intense reactions, particularly among Nigerian fans, many of whom directed their frustration at the Recording Academy. On social media, some argued that the category, widely seen as inspired by the dominance of Afrobeats, should favour Nigerian artists. The emergence of Tyla, who identifies strongly with Amapiano, a South African genre, deepened the sense of grievance among critics.
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From the onset, the category has been surrounded by controversy. One major concern is that Africa’s diverse musical traditions are too vast to be compressed into a single classification. As a culturally rich and varied continent, many argue that a separate African arm of the Grammys would offer fairer representation. This was a view Davido shared in a Forbes interview, where he acknowledged the global recognition of African sounds but suggested the possibility of an African Grammys, similar to the Latin Grammys.
It is not the first time the idea has been floated. Not too long ago, the Minister of Art, Culture, Tourism and Creative Economy, Hannatu Musawa championed a similar initiative, with reports suggesting that Nigeria might host the inaugural ceremony. The proposal met resistance from stakeholders who feared it could weaken existing African award platforms that have worked to spotlight local talent. By last year, the momentum had largely faded.
With Davido’s loss, the debate has resurfaced, though not without opposition. Some critics view the push for an African Grammys as evidence of an enduring dependence on Western validation, a colonial hangover that still shapes cultural aspirations. Despite growing global interest in African music, many artists and fans continue to equate international approval with ultimate success.
The idea of an African Grammys is not without merit. After all, the Recording Academy created the Latin Grammys to reflect the diversity of Latin music. Yet, before pursuing another foreign-backed institution, African artists must first learn to value their own platforms. Too often, international recognition breeds indifference toward the local systems that nurtured them. While global exposure is understandably exciting, like a young girl giddy after meeting her crush, it should not come at the expense of loyalty to homegrown institutions.
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At the same time, local award platforms must raise their standards. The Kora Awards, once a prestigious continental platform and darling of many African music stars, collapsed under the weight of mismanagement and corruption. The Headies, long regarded as Nigeria’s equivalent of the Grammys, have suffered declining popularity in recent years. Today, AFRIMA has emerged as a leading continental platform, and its ability to sustain integrity and relevance will be instrumental for Africa’s cultural future.
Whether an African Grammys emerges or not, Nigeria’s music industry must look beyond Western trophies and focus on building lasting structures. This begins with taking artists’ work beyond digital platforms and into structured touring circuits, regional concerts, and community-based performance spaces. As Davido observed in his Forbes interview, infrastructure remains a major challenge. Initiatives such as Nigerian Breweries’ Star Music Trek once enabled artists to connect with fans across cities. Today, insecurity and poor facilities have curtailed such opportunities.
In places where security is relatively stable, performance infrastructure remains inadequate. Until these foundational issues are addressed, awards–foreign or local–will remain symbolic rather than transformative. Perhaps, then, the industry’s true task is not to chase Western validation, but to build the systems that make global recognition inevitable.