Let’s begin with “congratulations” to all the Africans who have earned nominations for the 67th Grammys: Asake, Wizkid, Davido, Burna Boy, Tems and Angelique Kidjo. While it’s heartwarming to see the widening audience and global recognition for music in Africa, it’s rather unfortunate to see a trend of blindsiding some of the best and authentic music offerings from the black continent. Without assuming the position of an all-knowing music enthusiast, it is very clear that real artists are snubbed this year at the Grammys in the African music category. One is still healing from the pain of ‘Jerusalema’ that completely changed the culture across Africa and beyond- and was missed due to lack of a suitable category. And it seems the stab was a self-inflicted one because the recording academy at the 66th edition had to introduce a new category for African music in reaction to the penetration of African music in American music market and indeed, the global music charts. The ‘Best African Music Performance’ became a very competitive category and may soon branch out the way pop and jazz had been structured at the Grammys.
Whoever is in control of the wheels in these African music categories need to adjust the rearview mirror and give the best assessment of African music using the judgment of seasoned music reviewers and African music connoisseurs. Here are three greatest misses in the Best African Music Performance category.
TiTom and Yuppe’s Tshwalam Bam Remix
This Grammy snub stings. Since its release on May 13, 2024, South African duo TiTom and Yuppe’s ‘Tshwala Bam,’ which featured Burna Boy and S.N.E, this massive hit has garnered critical acclaim and global reception. On the success of the previous version and the Tshwala Bam signature dance, the highly anticipated remix with Burna Boy amassed over 40 million streams within the first month, making it an instantaneous hit. Originally composed by Thato Seth Mathobela and Bongani Kenneth Sibanyoni and first recorded in 2023, Tshwala Bam (2024) is an unbeatable upbeat song, reflecting the African energy.
The track can be considered a chart success as it reached the TurnTable Charts No. 1 and remained at the top for 18 weeks. Its popularity is evident because it tops the Shazam charts in 14 countries such as the UAE, UK, and France. This song deepened the appreciation for amapiano genre history and solidifies the artists’ ability in creating chart-topping it. Add to these facts that unique dance step and the introduction of ‘Italawa’ used by Burna into the popular slangs in Lagos, Nigeria; what song could be more influential than that in Africa?
Flavour Nabania’s Big Baller
Nigeria’s Flavour, a ‘Big Baller’ in African music who has made a mark on the global music scene was missed by the Recording Academy. Arguably Nigeria’s most consistent highlife artist, Flavour shut down an important concert venue-O2 Arena in London-this year and put Igbo language back on the music map with his hits songs.
His 2023 hit, ‘Game Changer’ didn’t change the game for him last year but he got his profile published on Grammy’s website. This relentless culture ambassador had toured Europe with Amsterdam, the Netherlands and eight other stops in Belgium, Sweden and more.
Music lovers have tasted his music and yes, it is African-flavoured and authentic. The recording academy has repeatedly suggested that their judgment in selecting winning songs or artists is not founded on record sales or streams but certainly, judging by their metrics and pattern, impact on culture is a factor. Grammys, we’re watching with interest.
Diamond Platnumz featuring Jason Derulo’s ‘Komasava’
This remix by Diamond Platnumz is yet another miss by the Recording Academy. “Komasava” featuring Jason Derulo is Diamond Platnumz’ boasting right in music this year. Known for his dynamic performances and chart-topping tracks, Diamond Platnumz continues to push the boundaries of East African music with this song and well, his effort has been missed once again by error in judgement.
-Written by Yinka Olatunbosun, a senior culture journalist and 2018 African recipient of NRW Kulture Secretariat Music Research Grant for Journalists
