Oyebanji Akins: Commercial Dominance Does Not Decide Grammy Winners
Oyebanji Akins is a US-based Nigerian music critic and founder of CTDA Media. A professional member of the Recording Academy’s 2025 Member Class, Oyebanji shares his thoughts with Ferdinand Ekechukwu on the outcome of the last Annual Grammy Awards. His unique perspective as both an African critic and an Academy insider provides a bridge for discussing the 68th Grammys, where South African music sensation Tyla won the supposedly controversial “Best African Music Performance” for her song “Push 2 Start,” defeating several Nigerian nominees. Excerpts
Stoked by controversy, is the narrative that Nigerian artists were snubbed at the 68th Grammys fair, or is it a result of unrealistic expectations from a people that views Afrobeats as the only dominant African genre?
Finding oneself in this position wasn’t something I planned, but since we’re here, let’s address it honestly. I think many Nigerians are missing a crucial point. Our global influence through Afrobeats is undeniable, and we should be proud of that. But influencing the world doesn’t mean owning African music. Africa is not a single sound. There’s Amapiano, Afro-fusion, Highlife revival, Afro-soul. There are local movements across the continent thriving in their own ecosystems. So the question becomes: should one dominant export sound automatically win every time? The category is not “Best Afrobeats Song.” It is “Best African Music Performance”, and that distinction matters. Yes, Nigerian artists dominate global charts. That dominance creates an expectation of inevitability. But the Academy does not vote on momentum. It votes on merit, distinct sonic identity, cohesive artistic vision, cultural originality, and overall excellence. Commercial dominance fuels confidence, artistic evaluation determines outcomes, and here’s the part we have to think about carefully: If Nigeria wins every single time, the category risks being perceived as “Best Nigerian Song.” That would defeat the very purpose of continental representation. This isn’t about diminishing Nigeria’s impact. It’s about understanding the structure of the award itself. We can celebrate our dominance, and still acknowledge that Africa is bigger than one sound. Think about that.
South African Tyla is signed to Epic Records (a major US label), whereas many Nigerian artists operate through different structures. How much does a global team influence Grammy outcomes compared to raw streaming numbers?
There has long been speculation within parts of the Nigerian music space that winning requires attaching certain global names to a record. While collaborations can expand reach, the reality is more structural than that, a global team does not “buy” awards. They build alignment. Strategic submission planning, correct category placement, professional campaign positioning, listening sessions within industry circles, consistent networking, clear contextual framing of the work, none of these steps guarantee a win. But they ensure that when a project enters the conversation, it is presented with clarity and intention.
Could there be specific elements of Tyla’s artistry that resonated more with Academy voters than the entries from Nigerian artists like Burna Boy, Davido, Ayra Starr?
I think it’s important to step back and look at the broader structure. The award is not about one country; it represents Africa within the framework and voting guidelines of the Recording Academy. That distinction is critical. The category exists to reflect continental diversity, not national dominance. I understand the emotional investment. Like many Nigerians, I have artists I deeply admire and would have been happy to see win. But the Grammy process is not built on sentiment. It is built on peer voting and evaluation based on artistic excellence. When we discuss Tyla’s success, we have to consider measurable impact. By available data, streaming performance, crossover reach, radio presence, and influence across both African markets and North America — she has been highly competitive. This isn’t about preference; it’s about performance within the criteria of the award. It is not a nationality-based system.
Nigerian artists dominate global charts, and that dominance naturally builds expectation. However, commercial momentum and award outcomes do not always align. What is encouraging is that more African professionals are becoming members of the Academy.
That means deeper cultural understanding within voting rooms and more informed conversations about the diversity of African sound, beyond social media discourse.
With Tyla having won this category twice of the three years it has existed, is the Academy showing a preference for the Amapiano sound over traditional Afrobeats?
This isn’t about Amapiano versus Afrobeats. It’s about recognizing that African music is not monolithic. Growth requires both pride and perspective. And as representation inside the system continues to grow, so will the nuance with which our music is understood. This conversation is often framed as “global team versus streaming,” but that framing oversimplifies a much deeper issue. We are in a digital era where numbers are visible and immediate. Streaming platforms give fans access to real-time metrics, and naturally, those numbers shape perception. When an artist dominates charts, it creates an expectation that awards should follow. But awards like the Grammys operate differently.
As a professional member of the Recording Academy’s 2025 Class, how does having more African professionals in the Recording Academy directly impact the “Best African Music Performance” category? Are we seeing a shift in how voters perceive the “sound” of Africa?
As a member of the 2025 Class, I believe the increasing presence of African professionals within the Recording Academy is significant, not just symbolically, but structurally. Representation inside a voting body matters because context matters. African music is layered. It carries language, rhythm structures, cultural references, production styles, and storytelling traditions that may not always be immediately understood without proximity. When more African professionals are part of the Academy, there is a deeper cultural literacy in the room. That does not mean votes are cast along national or regional lines. The Academy remains peer-voted and merit-based. But it does mean that when a record rooted in African tradition is evaluated, it is more likely to be heard with nuance. The category “Best African Music Performance” is still relatively young. As more African members participate, conversations around what constitutes “African sound” naturally become more informed and less stereotypical. Africa is not monolithic. It includes Afrobeats, Amapiano, Afro-fusion, Highlife revival, Afro-soul, indigenous language records, and evolving hybrids. Increased representation helps broaden that understanding within the Academy.
Are we seeing a shift in how voters perceive the “sound” of Africa?
Yes, but not in the sense of favoritism. Rather, we are seeing a gradual expansion in how African music is perceived. The conversation is moving beyond a single dominant export sound toward recognizing the continent’s diversity. That shift is subtle. It happens in listening rooms, in peer discussions, and in how recordings are contextualised during voting seasons. Progress in institutions is rarely dramatic. It is incremental. And the more African professionals who engage responsibly within the system, the more informed and balanced that evolution becomes. The long-term impact is not about one year’s winner. It is about ensuring that African music, in all its diversity, is understood on its own terms.
How do you respond to the public perception that Grammy winners are chosen based on popularity or streaming numbers, given that the Academy officially prioritises “artistic excellence” over commercial success?
Many Nigerian artists generate extraordinary streaming numbers. The global impact is undeniable. However, streaming dominance alone does not equal award infrastructure. There are additional layers that matter: International radio servicing, cross-market public relations, Grammy-season strategy, and physical presence within key industry hubs. In some cases, an artist with fewer streams may have stronger structural backing around their project. That is not favoritism. It is preparation. It is also important to remember who votes. Academy members are musicians, producers, engineers, songwriters, and executives. They are not ranking Spotify dashboards. They are listening to recordings, assessing composition, production quality, vocal performance, and artistic cohesion. Streaming is visibility; it is not a voting system, streaming builds awareness; it does not cast ballots. From both a continental and institutional perspective, the path forward for African music is not just louder numbers, it is stronger systems. As our industry continues to mature, investing in both creative excellence and structural strategy will be essential.
