Top African artists who deserved 2026 Grammy nominations but got snubbed

The 2026 Grammy nominations have been unveiled, offering African artists both cause for celebration and stark reminders of the hurdles that remain.

While the continent’s music continues to thrive globally, the results reveal that African acts are still navigating the challenging terrain of mainstream recognition at the Recording Academy.

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African Stars Shut Out of Top Categories

Perhaps the biggest shock was the absence of African artists in the “Big Four” categories, Album of the Year, Record of the Year, Song of the Year, and Best New Artist. Despite high-profile submissions from stars like Wizkid, Burna Boy, Tyla, and Ayra Starr, none secured a nomination in these top-tier categories.

Wizkid’s album Morayo and his single Piece of My Heart, Burna Boy’s No Sign of Weakness, Tyla’s Push 2 Start, and Ayra Starr’s Hot Body were all contenders for major honours, yet the awards went to heavyweights such as Bad Bunny, Kendrick Lamar, Sabrina Carpenter, and Lady Gaga.

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This “Big Four blackout” highlights a hard truth: global streaming success does not automatically translate to recognition at the Grammys. The Academy’s voting base still heavily favours Western acts, leaving even the most successful African artists striving for broader institutional influence.

The Competitive Landscape

It’s not about quality, African music is flourishing, but rather about influence and strategy. For the 2026 Grammys, over 1,000 submissions were made for Song of the Year and nearly 900 for Record of the Year, with only eight slots available per category. As such, even major international hits can miss out without targeted campaigning and strong support from voters within the Recording Academy.

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Notable Snubs

Some of the most talked-about omissions include Rema and Asake. Despite global hits such as Rema’s Charm and Calm Down and Asake’s Lungu Boy, neither artist received nominations in Best African Music Performance (BAMP) or Global Music Performance. Social media erupted with frustration from fans, illustrating that streaming dominance alone is insufficient.

Ghanaian stars also faced disappointment. Moliy, Black Sherif, Shatta Wale, and Gyakie were all left out of nominations in the Best African Music Performance and Global Performance categories. Moliy’s viral hit Shake It to the Max, a collaboration with Shenseea and Skillibeng, was one of Ghana’s biggest international tracks of 2025, yet it did not earn recognition. "Keep your head up," fans encouraged her on social media, acknowledging her global success despite the snub.

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Even previous winners like Tems, who took home Best African Music Performance in 2025 with Love Me JeJe, were absent, alongside familiar names such as Yemi Alade and Lojay. This demonstrates the growing competitiveness of the African categories.

The strength of the Best African Music Performance category

Despite the snubs, African artists continue to make strides. The Best African Music Performance category remains a stronghold, with nominees for 2026 including:

Burna Boy – Love

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Davido ft. Omah Lay – With You

Ayra Starr ft. Wizkid – Gimme Dat

Tyla – Push 2 Start

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Eddy Kenzo & Mehran Matin – Hope & Love

Ugandan star Eddy Kenzo’s inclusion was particularly notable, signalling a broadening beyond the typical Nigerian and South African dominance. Tyla’s repeat nomination and Omah Lay’s first nod also underline the emergence of sustained talent on the continent.

One of the most significant developments behind the scenes is Davido becoming an official voting member of the Recording Academy. "This gives him direct influence in the voting process, including the Big Four categories," analysts note. His new role represents a strategic evolution: African artists are now influencing the system from within, not merely competing externally.

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Conclusion

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The 2026 Grammy nominations tell a story of both challenge and growth for African music. While top-tier recognition remains elusive, the continent’s domination of the Best African Music Performance category and the inclusion of East African voices show that African music is no longer a sideshow, it is a global force.