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The conversation around African music at the Grammys has continued to grow louder each year, especially since the introduction of the Best African Music Performance category.
While the addition was widely celebrated as a long-overdue recognition of the continent’s global impact, debates still arise whenever nominations are announced.
The 2026 Grammy season has once again sparked discussions, particularly around songs that defined the year culturally but failed to secure nominations.
Across Africa, music is more than entertainment. It shapes identity, drives social conversations, influences global trends, and captures moments that resonate deeply with listeners.
This year, several standout records achieved all of that, yet were noticeably absent from the Grammy list.
Among the most talked-about omissions is Shallipopi – “Laho,” a track praised for its minimalist production and authentic street sound.
The song thrived without relying on heavy studio polish, connecting strongly with audiences in Nigeria and beyond. Its organic rise on social media platforms highlighted how local sounds can influence global conversations.
Similarly, Moliy, Shenseea, Skillibeng & Silent Addy – “Shake It To The Max (Fly)” Remix became a viral success, reaching international charts and drawing massive streaming numbers. Despite its cultural impact, technical rules around remixes reportedly prevented it from receiving a nomination.
South Africa’s amapiano sound also saw a major snub with Jazzworx, Thukuthela & MaWhoo – “Uzizwa Kanjani.”
The track showcased a softer and more refined side of the genre, emphasizing vocal control and musical depth. Many critics believed it represented the artistic direction the Grammys often claim to celebrate. Ayra Starr – “Hot Body” also stood out as a defining record of the year.
The song blended confidence and strong pop appeal, further cementing her status as a global star. Its steady rise throughout 2025 and presence in major performances made its omission surprising to many fans.
Other notable songs that missed out include Chella – “My Darling,” Gyakie – “Sankofa,” and Ciza feat. Jazzworx, Thukuthela, Omah Lay & Tems – “Isaka II (6 am)” Remix, which gained traction across digital platforms. Poco Lee, Shoday & Rahman Jago – “Hey Jago” also captured the energy of youth audiences and dance communities, making its absence another point of debate.
While artists like Burna Boy, Davido, Omah Lay, and Tyla earned well-deserved nominations, the broader discussion highlights how African music continues to evolve beyond award classifications.
These omissions do not diminish the achievements of nominated artists but instead emphasize the vastness and diversity of African sounds.
The Grammy Awards remain one of the most influential platforms globally, yet cultural impact cannot always be measured by nominations alone.
Many of these so-called snubbed tracks shaped conversations, inspired movements, and dominated social spaces throughout the year.
As African music continues to expand its global footprint, calls for more inclusive categories and broader recognition are likely to grow stronger. Ultimately, whether acknowledged by awards or not, these songs have already secured their place in defining Africa’s musical journey in 2025.
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