9 Historic African Grammy Moments—And Why the New African Category Feels Like a Political Move
For decades, the Grammy Awards have positioned themselves as the ultimate global standard for musical excellence. For African artists, the relationship with the Recording Academy has been complex—sometimes celebratory, other times dismissive. Over the years, African musicians have made history at the Grammys, breaking barriers and gaining recognition for their contributions to world music. However, the recent introduction of the Best African Music Performance category feels less like a genuine celebration of African music and more like a strategic political move to manage global industry.
While this category has been met with excitement, it also raises serious concerns about its narrow scope, the Recording Academy’s motivations, and whether it truly represents the diversity of African music. To understand why the Best African Music Performance category seems politically motivated, we must first look at the historical context of African artists at the Grammys and the ongoing struggle for fair representation.
Historic African Grammy Moments
1. Miriam Makeba Sets the Tone (1966)
Miriam Makeba, the legendary South African singer and activist, became the first African artist to win a Grammy in 1966 for An Evening with Belafonte/Makeba, a collaborative album with American singer Harry Belafonte. At the time, Makeba was living in exile due to her outspoken opposition to apartheid, making her win both a cultural and political statement. Her recognition was groundbreaking, but it also reinforced the idea that African artists needed Western co-signs to be acknowledged at the Grammys.
2. Babatunde Olatunji, Sikiru Adepoju & The Power of Nigerian Drumming (1992, 2007)
Nigerian percussionist Babatunde Olatunji played a major role in introducing African drumming to global audiences. His collaboration on Planet Drum with Mickey Hart won the first-ever Best World Music Album award in 1992, marking an important moment for African musical traditions. Similarly, Sikiru Adepoju won in 2007 for his work on Global Drum Project, further reinforcing Nigeria’s presence in Grammy history.
3. Ali Farka Touré & Toumani Diabaté’s Double Triumph (2006, 2010)
Malian musicians Ali Farka Touré and Toumani Diabaté were recognized for their exceptional talent in African folk and blues. Their joint album In the Heart of the Moon won Best Traditional World Music Album in 2006, proving that African musicians could be celebrated without Western collaborators. They won again in 2010 for Ali and Toumani, securing their legacy as two of the most influential African musicians in Grammy history.
4. Ladysmith Black Mambazo and Soweto Gospel Choir’s Consistent Recognition (2004-2018)
South African vocal ensemble Ladysmith Black Mambazo and the Soweto Gospel Choir became some of the most decorated African acts at the Grammys. Ladysmith Black Mambazo won four times, while Soweto Gospel Choir secured three wins. Their multiple victories showcased the Academy’s interest in South African choral music, though the broader African music scene remained underrepresented.
5. Tinariwen’s Desert Rock Victory (2011)
Malian rock band Tinariwen, known for their politically charged music reflecting Tuareg struggles, won Best World Music Album for Tassili in 2011. Their recognition was significant, as it expanded the Academy’s definition of African music beyond traditional and folk styles.
6. Angélique Kidjo’s Advocacy and Success (2008-2022)
Beninese singer Angélique Kidjo has been one of Africa’s most successful Grammy winners, securing five awards across different categories. Her 2020 Grammy speech was particularly powerful, as she dedicated her win to Burna Boy and called attention to the rising influence of African artists in global music. However, many African music fans criticized the Recording Academy for consistently favoring Kidjo over contemporary Afrobeats stars.
7. Burna Boy’s Long-Awaited Victory (2021)
After years of nominations and near-wins, Nigerian superstar Burna Boy finally won Best Global Music Album in 2021 for Twice as Tall. His victory was widely celebrated, marking a turning point in how Afrobeats was perceived on the global stage. However, some critics saw it as a delayed recognition rather than a proactive embrace of African pop music.
8. Wizkid’s Grammy Win Sparks Controversy (2021)
Wizkid won a Grammy in 2021 for his feature on Beyoncé’s Brown Skin Girl, which won Best Music Video. While this was a moment of pride for African music fans, many argued that Wizkid and Burna Boy deserved direct recognition for their own projects rather than collaborations with American artists.
9. The Introduction of the Best African Music Performance Category (2023)
The Recording Academy announced the Best African Music Performance category in 2023, claiming it was a response to the global rise of African music. While this was initially met with excitement, skepticism soon followed. Was this really about celebrating African music, or was it a strategic move to maintain control over a booming industry?
Why the Best African Music Performance Category Feels Like a Political Move
The introduction of the Best African Music Performance category might seem like a win for African artists, but deeper analysis suggests that it serves political and industry interests rather than the actual artists it claims to support.
1. A Response to Afrobeats’ Global Dominance
Afrobeats has grown into a global phenomenon, with artists like Burna Boy, Wizkid, and Rema selling out arenas worldwide. The genre has gained mainstream acceptance without Grammy validation, forcing the Recording Academy to acknowledge it. Instead of integrating Afrobeats into existing mainstream categories like Record of the Year or Best Pop Performance, the Grammys created a separate African category—effectively isolating African music rather than truly celebrating it.
2. Grammy Gatekeeping and Industry Control
The Grammys have a long history of controlling narratives around non-Western music. Before 2023, African artists were mostly relegated to the Best Global Music Album category. Now, by introducing an African-specific category, the Grammys ensure that African artists continue to compete amongst themselves rather than against Western pop stars. This maintains industry hierarchies and prevents African artists from becoming true global competitors in major categories.
3. The Problem of Narrow Representation
The Best African Music Performance category is already facing criticism for its narrow nominations. In 2024, all five nominees were Nigerian, with no representation from other African countries. This raises questions about whether the category is truly for African music or just for Afrobeats, which itself is a specific West African genre. Other influential African genres like Amapiano, Bongo Flava, and Francophone Afro-pop are being ignored.
4. Western Artists May Soon Win the Category
One of the biggest concerns is that non-African artists could eventually dominate the category. In 2024, Chris Brown’s Sensational, which featured Nigerian artists Davido and Lojay, was nominated. This opens the door for future cases where American or European artists win Best African Music Performance simply because they collaborate with African musicians. This pattern has been seen before in the Best Global Music Album category, where Western artists frequently win over African acts.
5. Africa is Still Treated as a Monolith
By creating a single African category, the Grammys fail to recognize the continent’s musical diversity. Unlike the U.S., where the Grammys have separate categories for pop, rock, rap, and country, Africa—a continent with over 50 countries and countless genres—is lumped into one category. This lack of nuance further reinforces the idea that Africa is a single musical entity rather than a diverse and dynamic cultural powerhouse.
6. Grammys vs. African Award Shows
The Recording Academy’s interest in African music coincides with the rise of African-owned award shows like the AFRIMA Awards and the Soundcity MVP Awards. These platforms celebrate African artists without external validation from the West. The Grammys’ new category feels like an attempt to reassert control over African music, ensuring that global success still comes with Western approval.
Conclusion: A Step Forward or a Political Strategy?
While the Best African Music Performance category provides some recognition for African artists, it is ultimately a strategic move by the Recording Academy to maintain control over a rapidly growing global music market. African music does not need the Grammys to thrive, but the Grammys need African music to stay relevant in a shifting industry landscape.
The real question is: will the Grammys ever give African artists true equality, or will they continue using them as a convenient political tool?