The 67th Grammy Awards, held in Los Angeles on February 2, 2025, have provoked a flurry of reactions across the entertainment sector. From Tems’ victory to the disappointment of numerous renowned Nigerian stars, the event has left many in the spotlight contemplating the complexities of the coveted awards.
While Tems won the ‘Best African Music Performance’ category, her achievement is simply one aspect of a bigger discourse about the Grammys’ handling of African artists, particularly since some prominent figures expressed their disappointment with the choice.
Tems’ Triumph: A Win for African Talent, But at What Cost?
Tems’ victory in the ‘Best African Music Performance‘ category for her song “Love Me JeJe” is undeniably remarkable. After all, her win is another step towards global recognition for Afrobeats and African music in general.
Her passionate statement, in which she dedicated her victory to her mother, brought an emotional dimension to the accomplishment.
She said, “Tomorrow is my mum’s birthday and this is her first Grammys. I just want to thank you ma because she has really done a lot for me and my brother.”
However, as much as Tems’ achievement is celebrated, it’s impossible to ignore the controversial undercurrents surrounding the Grammy’s handling of African talent.
For years, Nigerian superstars like Davido have been nominated but have consistently faced the sting of Grammy losses. The question that looms large is: Do these nominations truly reflect their musical prowess, or are they strategically placed to market the awards to African and global audiences? Tems’ win, though well-deserved, has reignited this debate.
In her acceptance speech, she expressed, “Wow, dear God. Thank you so much for putting me on this stage and bringing me this team,” but her win is surrounded with the lingering question of whether the Grammy truly honours African music.
Interestingly, the song that secured Tems her Grammy win is a remake of Seyi Sodimu’s 1997 classic, Love Me JeJe. The veteran singer gave his approval for the sampling, and Tems later expressed her gratitude, calling the original a “timeless classic” that deserves its flowers. Her appreciation of Sodimu’s work highlights the ongoing impact of older Nigerian records in shaping contemporary global music.
While Davido’s loss is a key topic of conversation, it’s important to note that two other Nigerian stars, Wizkid and Burna Boy, have already experienced Grammy success, meaning they did not face the same snub. Wizkid won his first Grammy in 2021 for Best Music Video for his collaboration with Beyoncé on “Brown Skin Girl,” while Burna Boy’s “Twice as Tall” earned him the Grammy for Best Global Music Album in the same year, following his nomination for “African Giant” in 2019. These victories were pivotal moments for Afrobeats on the global stage and demonstrated that the Grammy Awards have acknowledged the significant contributions of Nigerian artists to global music.
Samklef’s Mockery of Davido: A Divisive Stance
Following the loss of Davido and other Nigerian acts in the Best African Music Performance category, music producer Samklef stirred the pot with a dismissive post mocking Davido. The producer’s comments, which criticized the Grammy for awarding Tems instead of Davido, quickly became a topic of discussion. He suggested that money can’t buy Grammy wins and emphasized Tems’ talent as the reason for her victory, writing, “Tems won because she’s truly gifted. Now she has the house, the private jet, the expensive cars—but no unnecessary show-off. Just pure talent.”
However, his comments did not sit well with all industry players. Talent manager Ubi Franklin, a close associate of Davido, was quick to call out Samklef for his disrespectful remarks. In a public statement, Franklin reminded Samklef that not all nominated artists win, and that Davido’s loss was not an isolated event. He wrote, “Samklef you actually need to stop this please, David is not the first person who has gotten nominated and hasn’t won yet. Chris Brown after 25 Nominations he just got two. Stop dragging David into your continuous disrespectful commentary.” His plea for Samklef to cease his continuous disparaging remarks reflects a broader frustration in the industry with the glorification of the Grammy as the ultimate measure of success, often overlooking the various nuances involved.
GehGeh’s Critique: The Grammy’s Commercialization of African Talent
Amid the debates about individual losses, self-styled financial adviser GehGeh took to social media with a bold claim that the Grammy Awards exploit African artists to boost viewership. He argued in an Instagram video that the organizers strategically nominate prominent Nigerian acts like Davido and Wizkid not out of genuine appreciation for their work but as a means to tap into the massive African fanbase. “Grammy is using Davido to market the award to Nigerians and Africans. They know Davido and Wizkid are a big force in the music industry, and their nominations make Nigerians anticipate the event.”
GehGeh’s remarks shed light on the growing cynicism surrounding global awards and their perceived manipulation of the African market. By nominating artists with large followings, the Grammy guarantees massive attention from the African diaspora, only for many of those nominated to return home empty-handed. He pointed out, “If you check the history of the Grammy, na people wey no really care about the award dey win. Once they know you are really obsessed with it, you go cry tire, you no go see am.” GehGeh’s comparison of Grammy snubs to the exclusion of Nicki Minaj and Drake from major awards categories underscores the frustration with a system that, at times, seems more interested in marketing than truly honouring artistic achievement.
Portable’s Bold Comments: A Glimpse into the Unconventional
In his usual flamboyant fashion, controversial artist Portable joined the conversation, offering his own perspective on the Grammy outcome. While others grappled with the snubbed Nigerian artists, Portable confidently declared that he would secure a Grammy on his own terms. His belief in his own success, despite the odds, led him to mock Asake’s appearance at the Grammy ceremony and suggest that his own feature on a track would guarantee a Grammy win. He boldly said, “ordinary woman collected the Grammy from you people,” referring to Tems’ win.
Portable’s unfiltered remarks shine a light on the growing sense of self-belief among newer Nigerian artists who are unafraid to challenge the traditional path to international recognition. His comment about Naira Marley, who he claimed was destined for a Grammy before his neglect, adds another layer to the conversation about industry power dynamics and the ways in which artists are either uplifted or left behind by the powers that be. He also remarked,
“Failure is not an option for me I don’t have backup I am the backup that’s why am working hard I believe in my phone and sub any disappointment is a blessing.”
The Bigger Picture: A Moment of Reflection
As the dust settles on the 67th Grammy Awards, it’s clear that while Tems’ win is a cause for celebration, it also serves as a catalyst for deeper discussions within the Nigerian and African music scenes.
The Grammy’s treatment of African artists will continue to be a polarizing issue, with questions raised about the true value of such accolades and whether they are designed to benefit the artists or the institution itself.
While some, such as Tems, take pride in their accomplishments, others are left to ponder what winning—or even being nominated—really means. In his congratulations letter, President Bola Tinubu said, “The nation remains deeply grateful for your contributions to music, job creation, and tourism promotion. I wish you all continued success in your musical careers.”
The next Grammy cycle will likely witness even more high-stakes nominations, but how many more African artists will go home without the coveted golden gramophone? Only time will tell.
It a big win for Tem. Congratulations. Only God knows what is Deir basis for nomination.