The 2026 Grammy nominations have finally been unveiled, and for African artists, the results were a mix of progress, paradox, and a few hard lessons.
After years of global domination, many expected this to be the year African music truly broke into the Grammys’ most prestigious categories; Album of the Year, Record of the Year, Song of the Year, and Best New Artist. But despite high hopes and heavy campaigning, that dream didn’t quite materialize.
Instead, the nominations revealed a deeper story which explains that, while African music continues to thrive globally and gain institutional recognition, it’s still fighting for space at the very top of the Recording Academy’s hierarchy.
Here’s how the nominations played out; from the jaw-dropping shocks to the painful snubs and the unexpected surprises that got everyone talking.
Shocks: The big Four blackout1. African superstars miss out on the biggest categoriesThe biggest shock of the 2026 Grammy nominations was the complete absence of African artists in the “Big Four” categories; Album of the Year, Record of the Year, Song of the Year, and Best New Artist.
This year, major acts like Wizkid, Burna Boy, Tyla, and Ayra Starr went all in, submitting their projects in hopes of breaking into the top-tier categories. Wizkid’s latest album Morayo was submitted for Album of the Year, while his single Piece of My Heart competed in both Record and Song of the Year. Burna Boy’s No Sign of Weakness was pitched for Album of the Year, while Tyla submitted Push 2 Start for Best Pop Solo Performance. Ayra Starr’s energetic Hot Body also made a bold bid for Record and Song of the Year.
Despite these ambitious efforts, none of the submissions made it through. The Album of the Year category went to heavyweights like Bad Bunny, Kendrick Lamar, Sabrina Carpenter and Lady Gaga, while African names were completely shut out.
This “Big Four blackout” revealed a tough truth which is, African global success hasn’t yet translated into full Grammy prestige recognition. While the continent dominates streaming platforms and international charts, the voting power within the Recording Academy still leans heavily toward Western acts.
2. Why the competition is harder than it looksIt’s not for lack of quality or commercial success, it’s about numbers and influence.
For the 2026 Grammys, over 1,000 songs were submitted for Song of the Year and nearly 900 for Record of the Year. With only eight nomination slots available per category, even massive hits often fall through the cracks.
What this means for African artists is that, global success and streaming numbers aren’t enough. To earn a spot in the general categories, artists need strong representation and consensus across the Recording Academy’s thousands of voters, something still growing for Africa within the institution.
Snubs: The big names left out1. Rema and Asake’s complete shutoutPerhaps the most talked-about disappointment this year is the total exclusion of Rema and Asake, two of the most commercially successful and globally visible Afrobeats artists.
Rema’s continuous dominance with songs like Charm and Calm Down, and Asake’s success with his project Lungu Boy, made both strong contenders for Best African Music Performance (BAMP) and Global Music Performance. Yet, when the final list dropped, neither artist made the cut.
Their omission sparked outrage across social media, with fans questioning how such massive international stars could be ignored. It is evident to say streaming numbers alone don’t guarantee Grammy recognition. Without a well-organized, voter-targeted campaign, even global hits can fall through the cracks.
2. Past winners and contenders left behindAnother surprise snub came in the form of Tems, who won Best African Music Performance in 2025 with Love Me JeJe. Despite her growing influence and international collaborations, she didn’t receive a single nomination this year.
Likewise, previous nominees like Yemi Alade and Lojay were also missing. The omission of familiar names shows that the BAMP category has become highly competitive, and that past recognition doesn’t guarantee a repeat appearance.
Surprises: Progress, inclusion, and quiet wins1. The strength of the Best African Music Performance categoryWhile African artists were shut out of the top-tier awards, they dominated in their home category, Best African Music Performance (BAMP), which continues to evolve as a major showcase for continental excellence.
The 2026 BAMP nominees are:
Burna Boy – LoveDavido ft. Omah Lay – With YouAyra Starr ft. Wizkid – Gimme DatTyla – Push 2 StartEddy Kenzo & Mehran Matin – Hope & LoveThe inclusion of Ugandan star Eddy Kenzo was one of the biggest surprises, marking a rare and welcome expansion beyond the Nigerian and South African dominance of recent years. His nomination shows that the Academy is trying to make the category truly pan-African, not just Afrobeats-focused.
Meanwhile, Tyla’s repeat nomination after winning in 2024 for Water proves that her rise wasn’t a one-hit wonder. Davido’s collaboration with Omah Lay also gave the latter his first-ever Grammy nod, a major milestone for one of Afrobeats’ most creative voices.
2. Davido’s Grammy membership – The silent game-changerBeyond nominations, one of the most meaningful surprises of this Grammy cycle happened behind the scenes: Davido officially became a voting member of the Recording Academy.
This move is more than symbolic. It gives one of Africa’s biggest artists direct influence in the final voting process, including in the Big Four categories. It’s a huge step toward increasing African representation within the Academy, a move that could eventually help the continent’s artists earn more widespread recognition.
Davido’s membership signals a strategic evolution that, African artists are no longer just competing for trophies, they’re working to change the system from within.
ConclusionFor African artists, the 2026 Grammy nominations tell a story of progress and patience. While the dream of breaking into the Grammys’ biggest categories remains unfulfilled, the growing strength of Best African Music Performance and Global Music fields shows that African music is no longer a side note, it’s a global force that’s here to stay.
The snubs may sting, but the quiet wins, from Davido’s voting membership to the inclusion of East African voices prove that real change is happening. The path to Grammy dominance may be gradual, but Africa’s music community is clearly learning to play the long game.
As one industry observer put it: “The Grammys aren’t just about songs anymore. They’re about strategy, representation, and power, and Africa is finally stepping into all three.”
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