The 68th Grammy nominations list is officially out, and as expected, the 2026 Grammy nominations for African artists are a central part of the conversation. The nominations, announced on 7 November, have given us a lot to celebrate, but they’ve also sparked a lot of debate.
While the continent has once again shown its strength, the feeling online is one of frustration. This year, it’s all about the “Big Four” blackout and the baffling snubs that are overshadowing the wins.
The BAMP Category: A List of Heavyweights
Let’s start with the main event: Best African Music Performance (BAMP). This category is, once again, a heavyweight fight, proving its status as one of the most competitive fields. The 2026 nominees are:
Burna Boy – “Love”
Davido ft. Omah Lay – “With You”
Ayra Starr ft. Wizkid – “Gimme Dat”
Tyla – “PUSH 2 START”
Eddy Kenzo & Mehran Matin – “Hope & Love”
It’s a strong list, no doubt. Tyla continues her golden run, Burna Boy secures his expected spot, and the Ayra/Wizkid and Davido/Omah Lay collabs were undeniable radio hits. The inclusion of Uganda’s Eddy Kenzo is a welcome nod to East Africa in a category otherwise dominated by Nigeria and South Africa.
Elsewhere, the Best Global Music Album category sees Burna Boy nominated for No Sign of Weakness, alongside the Senegalese maestro Youssou N’Dour for Éclairer le monde (Light the World). In the Best Global Music Performance category, the iconic Angélique Kidjo also returns with a nod for “Jerusalema.”
The “Big Four” Blackout
Now, for the real story. This was the year many expected a major crossover. The submissions from the continent were the most ambitious yet: Ayra Starr’s “Hot Body” and Tyla’s “Push 2 Start” were submitted for Record of the Year and Song of the Year. Wizkid’s Morayo and Burna Boy’s No Sign of Weakness were both vying for Album of the Year.
The result? A complete shutout. Not a single African-led track or album made it into the “Big Four” (Album, Record, Song of the Year, or Best New Artist). For a genre that has visibly dominated global culture, streaming, and fashion, this “Big Four” blackout feels like a major disconnect.
The Snubs Everyone is Talking About
While the Big Four snub stings, the real frustration on the timeline is with the BAMP category itself. The omissions are, frankly, glaring.
The public consensus is simple: where are Rema and Asake? How can a year’s worth of music be summarised without “Charm” or the Lungu Boy movement? What about Moliy’s “Shake It to the Max” or Black Sherif’s work? The absence of these viral, culture-defining anthems has many fans feeling that the Grammy voters are still only recognising the most established names, not the sounds that are actuallydriving the culture on the ground.
The sentiment online suggests that while the nominations are ‘good’, they aren’t an accurate reflection of the year’s innovation.
A New Strategy
This year’s results, particularly the snubs, prove that global streaming success and cultural impact still don’t automatically equal Grammy gold. The game is changing. With stars like Davido now joining the Recording Academy as voting members, the strategy is shifting from just being nominated to influencing the system from within.
The 2026 list is a celebration, for sure. But more than that, it’s a lesson. The “Big Four” remains the final frontier, and the snubs prove that the fight for full, comprehensive recognition is far from over.
