Beyond Afrobeat: Is it time for the Grammys to explore diverse African music genres?

As this year's Grammy nominations roll in, the question remains: is Africa getting its fair share of recognition, or is the road to true acknowledgement still a long one?

Over the last decade, African music has steadily made its mark on the world stage. Artistes like Burna Boy, Wizkid, Tems, and Angélique Kidjo have not only earned nominations but also taken home Grammy trophies, signalling a shift toward greater African representation.

Burna Boy's ‘Twice as Tall’ and Wizkid’s collaboration with Beyoncé on ‘Brown Skin Girl’ have been landmark moments, amplifying Africa’s presence in mainstream global music.

Yet, despite these wins, the broader question remains: are these accolades reflective of the true diversity and depth of Africa’s music industry?

While genres like Afrobeats are increasingly celebrated, others—like South Africa’s Gqom or East Africa’s Taarab—remain largely ignored.

The 2025 snubs: A wake-up call?

Tanzanian superstar Diamond Platnumz has enjoyed a remarkable year, expanding his reach beyond East Africa and gaining traction in international markets.

Known for his Bongo Flava style, Diamond has demonstrated versatility by embracing diverse genres and collaborating with international artists.

His dynamic performances and ability to blend traditional and modern sounds have made him a top contender for Grammy recognition, representing East Africa’s vibrant music scene on the global stage.

Similarly, Tito M & Yuppe, an emerging duo from South Africa, have made waves with their track Tshwala Bam.

A perfect showcase of the infectious Amapiano sound, Tshwala Bam has captivated listeners worldwide.

The duo’s creativity and chemistry have led to a fresh, dynamic sound that has taken the music world by storm.

With this track, Tito & Yuppe have not only showcased their artistic prowess but have also put Amapiano firmly in the spotlight, making them strong contenders for Grammy nominations in 2025.

Fans quickly took to social media, questioning the Academy's understanding of African genres.

One fan posts, “Where is @diamondplatnumz? There are no great songs in Africa to surpass Komasava, or is this Grammy only for Nigeria?”

Another laments, “Where are East African artistes like @diamondplatnumz, South African artistes like @tyla, and @tito_m.012? This reality is not fair.”

Diamond Platnumz, a giant in East Africa’s music scene, has dominated regional charts and collaborated with global superstars like Alicia Keys.

Similarly, Amapiano has taken the world by storm, influencing international DJs and igniting viral dance trends.

The omission of these artistes from Grammy nominations suggests a persistent gap in how African music is evaluated and appreciated on the global stage.

On her part, Talent Manager Margaret Kilembe shares her perspective on the struggles African artistes face in breaking into the global awards circuit.

“There are very limited resources to promote their brands abroad, and very little support in terms of resources from many institutions, like corporate organisations,” she explains.

“For example, in Tanzania, we have the same five artists getting endorsements and a few others who get to jump on major shows. It’s a small pool, and most artists struggle to break through because the opportunities are so concentrated.”

She goes on to emphasise how this limited exposure impacts the broader music scene.

“Even the promoters of events here show very little support for our local artists. Instead, they often prioritise international artists, giving them higher billing and more opportunities,” Margaret notes.

“So, there are very few privileged artists who can afford to brand and market themselves according to global standards. This leaves a lot of incredibly talented musicians without the resources they need to elevate their careers on the international stage.”

These challenges, she argues, contribute to the under-representation of many talented musicians from the continent.

In addition to that, other music enthusiasts say several factors contribute to the challenges African music faces at the Grammys.

One major issue is category limitations, the industry gatekeeping and marketing and accessibility continue to pose challenges.

Despite the growing visibility of African artistes through streaming platforms like Spotify and YouTube, global distribution and marketing infrastructure remain underdeveloped in many parts of the continent.

This limits African musicians' ability to reach Grammy voters and reduces their exposure within the broader international music community.

In the same vein, Ms Margaret further weighed in on the issue, adds that the continent is full of diverse talent, and if the Grammys tapped into a wider demographic, they would discover even more incredible African music.

Some argue that African music doesn’t need Grammy validation when the continent can create its own globally respected awards system.

Bob Abel, talent manager, stresses the need for a more inclusive approach.

“What happened at the Grammys shows a lack of education about African music. It’s similar to the bias in football, where the best player was always thought to be from Brazil. Now, the Grammy’s focus seems to be on Nigerian artistes. Africa has many talented musicians from every corner of the continent who deserve recognition.”

The hope, as Burna Boy put it in his Grammy acceptance speech, is that “this is a big win for Africans of my generation, all over the world.”

The ultimate goal is for future Grammy wins to be a consistent celebration of Africa’s musical diversity—not just the exception.

The debate over the Grammys is about more than just awards—it’s about global recognition of Africa’s cultural and musical impact.

From the rise of Afrobeats in the US to Amapiano’s international dominance, African music is reshaping the global soundscape.