“It’s Purely Political:” A Candid Conversation About the Grammy’s African Music Category

"Everybody here deserves it, but it's the least representative of the zeitgeist of African pop music," culture commentator and Recording Academy member Joey Akan says in a candid conversation with OkayAfrica'sDennis Ade Peter.

Akan explains that the category's underwhelming narrow focus is an effect of "pure politics" and the narrative devaluing of Afrobeats. Below, the pair dig into this year's nomination and the factors behind this year's African category at the Grammys and similar categories at other Western awards.

The conversation below has been edited for clarity and length.

OkayAfrica: What do you think about this category now that the excitement has worn off a bit?

Joey Akan: I was in a couple of meetings when [the Grammys] were trying to create that category, and when it was announced, I didn't feel like it protected us. I didn't feel like it protected Africans for an African category.I wrote an article detailing that problem, and all the things I wrote about in that piece are coming to pass. Every time I talk about how we need more protection as Africans and how we need to protect ourselves and protect the music we make, everyone screams and says, "Oh my God, you're being nationalist."

Seeing what it has become, especially this year's nomination, it just brings back all those things. We have Chris Brown getting the nomination here, and he has [the most] likely chance of winning this than anybody else here just because he's Chris Brown. I still like that we have something dedicated to us, but it's free for all because, if you want to stretch this conversation beyond the Grammys, last year showed us why we need these protections. Usher wasnominated for Best Afrobeats at the [MTV] EMA, right? Billboard has [a song by] German DJ Adam Port, but none of them on the record are Nigerian.Even the record itself is not Afrobeats.

These sorts of things leave a lot to be desired and expose us to too many misrepresentations. As the year progresses, more people are adopting Afrobeats using it as a gateway into Africa or wearing it as a badge. With more resources and recognition, these people will gain visibility on various platforms and receive nominations, a trend that has already started.

Peter: I think the main issue is thatAfrobeats is not a genre. We've taken all of these elements, made it innately Nigerian, and sold it to the world, which is fine. My problem is thateven the artists themselves, whenever they come out and say, "I'm not an Afrobeats artist; I'm an Afro-fusion artist." It's like, do you know what Afrobeats is? It's not necessarily a sound; it's just packaging for you guys to blow.

The Grammys evenpublished a story that said, "Here are the different genres of Afrobeats," and the writer added amapiano, bongo flava and a bunch of other genres.

Like you said about protection, I guess the biggest [issue] is economic considerations. You can't protect something you cannot 100 percent claim to control because, more than half the time, your biggest artists don't stay in Nigeria, even when they're having a down year. They're outside because that's where the money is. How does this factor into this category? Are we rewarding Best African Music Performance based on global popularity?

Akan: It's the Grammys, and we would always have to go through their system because it is their award show. It's an American award show that has gotten so much relevance and prominence that they started expanding it to reach different parts of the world. So, we would always be indebted to their system. My concern is that if we're truly going to do an African category, then let's do an African category.

If you look at all the nominated records, they are by artists signed to international labels. They're the ones with any level of global release, so these award shows are not representative of the culture. Theyrepresent the people in the culture with access to foreign marketing services. For example, the song "Oblee" might be bigger here than "MMS," but it will not get a Grammy consideration because it has not satisfied that prerequisite.

So, we're already creating a caste system in terms of songs and artists recognized for these awards. I have a problem with how we have found a way to reduce the worth of Afrobeats narratively. First, we don't understand that Afrobeats is not a genre;it's just an umbrella term that gives popular music from this region a voice. Then, our biggest artists dissociate themselves from the term.

Peter: Yeah. Also, they're 'Nigerianizing' the entire thing. As you said, it all boils down to access to international deals and Nigerians being the loudest online often. I have a problem with Nigerians expecting that the same way we treat our music and culture is the same way other [Africans] should treat their music and culture.

For example, with amapiano, I always tell people we're two steps behind what South Africans are doing. Even Rema's"Calm Down" is a kizomba song, but people will say it's Afrobeats. If you listen to various African music, you can point to the influences. We're taking from all these places without understanding that, as you don't value your stuff, you devalue [these influences] and affect the authenticity that this category could reflect.

If you represent an entire continent with just four songs from Nigeria and one from the U.S. featuring two Nigerian artists, how does that truly represent African music? When you can objectively make the case that "Tswhala Bam" was probablythe biggest song on the continent. Why is that not nominated?

Akan: Well, the reason this happens is purely political. People would not understand it until they begin to go into the backend of these places, have these meetings, and see who's advocating for whom. We might talk about Africa, but when we enter these rooms, we're not speaking about Africa; we're speaking about Nigeria because it's a matter of pride and ego for our people to get more representation. The fact that the members of the Grammys are not fully representative of all the African countries and music cultures throws up a crucial problem.

Secondly, consider how much the Grammys is connected to the major [labels]. The majors run everything, and if they are going into this market, they will try to give you all the opportunities. Who knew Afrobeats wouldtake over the 2023 NBA All-Star halftime show? That's because they've invested heavily here. How many South African singers have you seen on Stephen Corbet's [late-night show] or any of these late-night shows?

The investment comes with all access to these spaces, and that's why we have what we have. Anybody can submit, but will you email everybody saying, "Hey, for your Grammy consideration?" Are you the one going to have dinner with everybody or meet everybody in all these rooms? It's politics and lobbying, and Nigeria has a larger presence because Nigerians are connected to the major labels in a big way now.

Peter: I likedlast year's nominees, quality-wise, better than this year, although I would have preferred one or two less Nigerian songs. But this year, it's not a particularly strong field. What do you think about this field of nominees?

Akan: So, Asake's "MMS" Empire would always have their people there. It's a good song, but if you're going to pick any song from Lungu Boy, what would you pick?

Peter: Probably "Fuji Vibes." I feel like "Active" connected with people more than this. We heard the Burna Boy song around, but it didn't hit the same way a Burna Boy hit usually does.

Akan: I call Burna Boy's "Higher" a loosie. Yemi Alade has done amazing work, even though she doesn't really tap into Nigeria's pop culture. I remember being at the Trace Awards in Rwanda, and you see it on the internet, but what I witnessed was super. Every time they mentioned Yemi Alade, the entire place turned upside down, and this was East Africa. She performed, and people sang word for word, so I see how big she is. She deserves it.

Tems deserves it also for the work she has done. I still have doubts about Chris Brown, but it's a good song.

Peter: Left to me, I felt like there could have been better songs.

Akan: Yeah, there could have been, but I want to see a more diverse lineup, and it will be hard to see that happen unless we sort out the politics. We need more South Africans there apart from Tyla. Amapiano's influence has not been represented in the last two years.

Amapiano has grown; it's plugged into dance music around the world. There should be better representation along those lines. I'm not saying go to the most obscure parts of the continent, but if you want to represent the spirit of the times, let us be able to make sure the best music and the best people rise to the top. Everybody here deserves it, but it's the least representative of the zeitgeist of African pop music.