African Artists Who Missed Out on Awards at the 2025 Grammys
- orpmarketing
- Jun 11
- 7 min read
The 67th Annual Grammy Awards, held on February 2, 2025, at the Crypto.com Arena in Los Angeles, celebrated a wide array of musical talent from around the globe. African artists, particularly from Nigeria, made a strong showing, dominating the Best African Music Performance category and earning nominations across other genres. However, despite their undeniable impact, several African artists walked away empty-handed, sparking discussions about recognition, category limitations, and the global music landscape. This blog dives into the African artists who missed out on awards at the 2025 Grammys, their contributions, and the broader context of their nominations.
The Best African Music Performance Category: A Nigerian Sweep
The Best African Music Performance category, introduced in 2024, has been a significant step toward recognizing the continent’s rich musical heritage. In its second year, the 2025 nominees were entirely Nigerian, highlighting the global dominance of Afrobeats. The nominees were:
Tems – “Love Me Jeje” (Winner)
Burna Boy – “Higher”
Asake & Wizkid – “MMS”
Chris Brown feat. Davido & Lojay – “Sensational”
Yemi Alade – “Tomorrow”
Tems clinched the award with her soulful track “Love Me Jeje,” a reimagination of Seyi Sodimu’s 1997 classic. Her win was historic, marking her as the first Nigerian to secure two Grammys and solidifying her status as a global Afrobeats ambassador. However, the other nominees—each a powerhouse in their own right—did not take home the golden gramophone, leaving fans and critics reflecting on their contributions.
Burna Boy: The Afrobeats Titan
Burna Boy, a Grammy winner in 2021 for Twice as Tall, was nominated for “Higher” from his 2023 album I Told Them. Known for his reflective lyricism and genre-blending style, Burna Boy has been a trailblazer for African music on the global stage. “Higher” is a mellow, piano-driven track that addresses life’s challenges, showcasing his versatility. Despite his commercial success and critical acclaim, Burna Boy faced stiff competition from Tems, whose emotional performance and cultural resonance with “Love Me Jeje” likely tipped the scales. Burna Boy’s loss in this category, despite his four nominations in 2024, underscores the high bar set within the African music scene.
Asake & Wizkid: The Dynamic Duo
Asake, a rising star known for his fusion of Afrobeats, amapiano, and fújì, teamed up with Afrobeats legend Wizkid for “MMS” from Asake’s 2024 album Lungu Boy. The track, with its Yoruba choral vocals and jazz-inflected beat, reflects Asake’s innovative approach and Wizkid’s enduring influence. Both artists have been instrumental in pushing Afrobeats globally—Wizkid with hits like “Essence” and Asake with his rapid rise to fame. Their loss to Tems highlights the category’s competitiveness, where even a collaboration between two of Nigeria’s biggest names couldn’t secure the win. Fans took to social media to express disappointment, noting the track’s cultural and commercial impact.
Chris Brown feat. Davido & Lojay: A Controversial Nomination
The nomination of “Sensational” by Chris Brown, featuring Nigerian artists Davido and Lojay, stirred debate due to Brown’s American origin. The track, from Brown’s 2023 album 11:11, incorporates Afrobeats elements and showcases Davido’s signature energy and Lojay’s rising star power. While Brown’s long-standing collaborations with African artists earned him some goodwill, many questioned whether a non-African should be nominated in a category meant to celebrate African talent. Davido, a four-time Grammy nominee, and Lojay, earning his first nod, brought authenticity to the track, but it wasn’t enough to sway voters. The loss sparked discussions about the Grammy’s criteria for “African music” and whether the category adequately represents the continent’s diversity.
Yemi Alade: The Resilient Mama Africa
Yemi Alade, often called “Mama Africa,” earned her first solo Grammy nomination for “Tomorrow” from her 2024 album Rebel Queen. The track, blending highlife and dancehall with bright piano melodies, embodies Alade’s vibrant style and pan-African appeal. Her nomination was a testament to her decades-long hustle and influence in African pop music. However, despite her global fanbase and the song’s uplifting message, Alade lost to Tems. Fans praised her resilience, noting that the nomination itself was a milestone for an artist who has consistently championed African sounds.
Other Categories: African Artists in the Global Spotlight
Beyond the Best African Music Performance category, African artists were nominated in other genres, but several missed out on wins.
Tems: Two More Nominations, No Wins
Tems was a standout with three nominations, the most of any African artist in 2025. In addition to her win for “Love Me Jeje,” she was nominated for:
Best R&B Song – “Burning” from Born in the Wild (lost to SZA’s “Saturn”)
Best Global Music Album – Born in the Wild (lost to Matt B and the Royal Philharmonic Orchestra)
Tems’ nomination for “Burning” marked her as the first indigenous African artist in the R&B category, a historic achievement. However, SZA’s critically acclaimed track took the prize. Similarly, Born in the Wild, a chart-topping album that blends Afrobeats and R&B, was edged out in the Best Global Music Album category. Tems’ losses in these categories highlight the challenge African artists face in breaking into mainstream Grammy categories, despite their global influence.
Rema: A Sophomore Snub
Rema, a young Nigerian artist, earned his first Grammy nomination for his sophomore album HEIS in the Best Global Music Album category. Released in July 2024, HEIS debuted at No. 1 in Nigeria and spawned multiple top-10 hits. Its nomination was a milestone, as it became the first African sophomore album to compete in this category. However, Rema lost to Matt B and the Royal Philharmonic Orchestra. The loss was a disappointment for fans who view Rema as a leader of Afrobeats’ new wave, but his nomination signals a bright future.
Angélique Kidjo: A Grammy Legend Falls Short
Beninese icon Angélique Kidjo, a five-time Grammy winner, was nominated for “Sunlight to My Soul” (featuring the Soweto Gospel Choir) in the Best Global Music Performance category. Known for her genre-defying work and advocacy for African music, Kidjo is a Grammy favorite. However, she lost to Arooj Aftab, Masa Takumi, or another nominee in the category. Kidjo’s loss, while not diminishing her legacy, underscores the increasing competition in global music categories, where African artists must contend with diverse international talent.
Rocky Dawuni: Ghana’s Reggae Ambassador
Ghanaian reggae artist Rocky Dawuni was nominated for “Rise” in the Best Global Music Performance category. Dawuni, a three-time Grammy nominee, is celebrated for his socially conscious music and unique Afro-reggae style. Despite his global appeal and advocacy for social change, he did not win, with the award going to another nominee. Dawuni’s loss reflects the challenge of representing less commercially dominant genres like reggae in a category crowded with diverse styles.
Notable Snubs: Artists Overlooked Entirely
Beyond those nominated, several African artists were conspicuously absent from the 2025 Grammy nominations, sparking outcries from fans and critics.
Tyla: A Missed Opportunity
South African star Tyla, the inaugural winner of the Best African Music Performance category in 2024 for “Water,” was notably snubbed for her debut album Tyla. The album, featuring hits like “Push 2 Start,” “Jump,” and “ART,” was expected to compete in mainstream categories like Best New Artist or Best Pop Album. Her absence from the nominations, despite her global appeal and chart success, was seen as a missed opportunity for the Grammys to leverage her star power. Fans on social media expressed frustration, arguing that Tyla’s exclusion highlighted the Academy’s inconsistent recognition of African talent in non-African categories.
Ayra Starr: A Genre-Defying Omission
Nigerian artist Ayra Starr’s “Commas,” a genre-blending track from her 2024 album The Year I Turned 21, was another surprising omission. The song’s fusion of Afrobeats, R&B, and pop, paired with Starr’s striking vocals, made it a strong contender for the Best African Music Performance category. Critics argued that the category’s limit of five nominees—compared to eight in categories like Record of the Year—restricted the recognition of Africa’s diverse talent pool. Starr’s snub raised questions about the Grammy’s selection metrics and whether popularity overshadows artistry.
The Bigger Picture: Challenges and Opportunities
The 2025 Grammys showcased African music’s growing influence, but the losses and snubs highlight ongoing challenges:
Category Limitations: The Best African Music Performance category, while groundbreaking, is limited to five nominees, which critics argue fails to capture the continent’s vast musical diversity. Genres like Ethio-jazz, North African music, and East African styles were notably absent, with Afrobeats dominating the spotlight.
Mainstream Recognition: African artists like Tems and Tyla have made strides in mainstream categories, but consistent recognition in fields like Best New Artist or Album of the Year remains elusive. The Grammys must continue evolving to reflect African music’s global impact.
Cultural Nuance: The inclusion of Chris Brown in the Best African Music Performance category sparked debates about cultural authenticity. Grammy CEO Harvey Mason Jr. defended the decision, emphasizing music’s inclusivity, but some argue the category should prioritize African artists.
Despite these challenges, the nominations themselves are a victory, signaling Africa’s rising prominence. Artists like Burna Boy, Asake, Wizkid, Davido, Lojay, Yemi Alade, Rema, Angélique Kidjo, and Rocky Dawuni continue to push boundaries, paving the way for future wins.
Looking Ahead: The Future of African Music at the Grammys
The 2025 Grammys were a testament to African music’s global reach, even if not all nominees walked away with awards. Tems’ win was a highlight, but the losses of Burna Boy, Asake, Wizkid, Davido, Lojay, Yemi Alade, Rema, Kidjo, and Dawuni reflect the fierce competition and high standards within African music. Snubs like Tyla and Ayra Starr underscore the need for broader category representation and more inclusive nomination processes.
As African music continues to dominate charts and festivals worldwide, the Grammys have an opportunity to expand categories, embrace diverse genres, and integrate African artists into mainstream fields. For now, the artists who missed out remain trailblazers, their nominations a reminder of Africa’s unstoppable musical renaissance.
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