FEBRUARY 8, 2024.
The 66th GRAMMY Awards have come and gone, and lot of us needed to be more content with the chosen victors. It's the thing where you don't want to seem like a hater or be bitter towards the winners, but you still think to yourself, "Were the champions truly the most deserving?"
The Recording Academy has perfected the art of the meticulously orchestrated awards ceremony, making sure there is a delicate balance between satisfaction and discontentment among the music community. Take, for example, last year's contentious Album of the Year award. Harry Styles; "Harry's House" took home the coveted golden gramophone, leaving almost everyone who was convinced that Beyoncé's "Renaissance" was the rightful recipient surprised, to say the least. Queen Bey, the most-nominated artist that year with a staggering nine nods, ultimately claimed only one trophy for "Cuff It" in the best R&B song category.
Jay-Z, in his acceptance speech for the Dr. Dre Global Impact Award, couldn't resist voicing out the collective concern of the music community. After all, Beyoncé, the undisputed GRAMMY queen with an unparalleled win record, remains curiously absent from the esteemed Album of the Year club. "She has more GRAMMYs than everyone and never won Album of the Year, so even by your own metrics, that doesn't work."
In fact, of the four most prestigious award categories at GRAMMY's (Album of the Year, Song of the Year, Best New Artist, and Record of the Year), Beyoncé only has the song of the year award under her belt. She has never been nominated for Artist of the Year and has been snubbed four times for Album of the Year and an additional eight times for Record of the Year.
The point is that the Recording Academy needs to re-evaluate its voting criteria, ensuring they accurately reflect the vibrant scenery of musical excellence. Alternatively, as Jay-Z so eloquently suggested, the Academy needs to "get it right." After all, even the most devoted subjects can only tolerate so much shade cast towards their beloved Queen.
Let me be clear: Harry's House deserves its accolades. It's a beautiful, masterful work. But even Harry seemed surprised by his win over Beyoncé. His reaction to his win-burying his head and shaking it spoke volumes.
It's common knowledge that winning an award alongside Beyoncé carries an unspoken burden. The "Beehive", known for its passionate defense, can unleash its wrath if you dare celebrate too boldly. I think it stems from the infamous 2009 MTV VMAs incident, where Kanye West overshadowed Taylor Swift's win, ambushing her during her acceptance speech and sparking years of "winning over Beyoncé guilt" in the process.
The Recording Academy, however, as you may have presumed, remains unfazed. Last year, popular opinion favoured Beyoncé's Renaissance for Album of the Year. Personally, I championed Kendrick Lamar's Mr. Morale and The Big Steppers. This album was not only a brilliant piece of music, but it also coincided with hip-hop's 50th anniversary, offering a chance for the academy to demonstrate cultural awareness and solidarity with a pivotal black cultural phenomenon. Beyoncé's supporters, on the other hand, argued her win would further solidify her groundbreaking artistry and potential record-breaking GRAMMY total. Yet, the academy seemingly fell short of sensitivity, leaving many, including myself, disappointed.
The issue of unfair treatment extends beyond popular music categories. The Recording Academy has a longstanding reputation for mishandling the recognition of African music. While the "Best African Music Performance" award is a start, it suffers from significant shortcomings.
Firstly, the very title, "African music," acts as a broad umbrella that fails to capture the diverse variety of sounds emanating from the continent. Afrobeats, Afropop, Highlife, and countless other genres each possess unique characteristics and deserve individual recognition. Lumping them together risks oversimplification and undermines the distinct artistry of each. The project manager at the Academy, Shawn Thwaites, expressed that "giving African music its own category would highlight and celebrate the diversity and richness of Africa." It seems as though the execution of this idea falls short of its intentions. Lumping all these unique genres under one umbrella contradicts the supposed celebration of diversity. This approach suggests a lack of understanding and appreciation for the distinct artistic nuances within African music, ultimately doing a disservice to the very artists it aims to highlight.
Secondly, the 2024 win by Tyla, although well-deserved for her hit "Water," highlights the potential pitfalls of relying solely on popularity as the judging metric. Her music, while vibrant and catchy, differs significantly from the styles of nominees like Burna Boy and Davido. This raises the question: does sheer popularity truly reflect the artistic merit and innovation that should define award recognition?
If popularity reigns supreme, then artists who tap into viral trends or mass appeal may consistently edge out those exploring different sounds or pushing creative boundaries. This could stifle artistic growth and limit the recognition of diverse voices in African music. Therefore, a multifaceted approach is necessary. The recording academy should consider:
- Subcategorization
Divide the "Best African Music" award into subcategories representing distinct genres like Afrobeats, Highlife, etc. This allows for a more nuanced recognition of artistic achievement within specific styles.
- Regional Representation
Ensure the voting committee includes members with diverse regional expertise and appreciation for the unique soundscapes across Africa. This fosters a more informed and inclusive judging process.
- Focus on Artistic Merit
While popularity can't be ignored, prioritize factors like songwriting, composition, production, and cultural impact when evaluating nominees. This ensures recognition goes beyond mere chart success and celebrates genuine artistic expression.
By implementing these changes, the GRAMMY's can move towards a more equitable and representative approach to African music. The continent's vibrant musical landscape deserves to be acknowledged in all its richness and complexity, not confined by broad categories or judged solely on popularity. Only then can the awards truly celebrate the diverse voices and groundbreaking artistry shaping the African music scene.
GRAMMY CEO Harvey Jay Mason Jr. recently underscored the crucial role of music quality as a determining metric for success at an event. "In order to win a GRAMMY, you have to have membership in the academy open. In order to be a member of the academy, you have to be a professional working in music in the United States. Once you're a member of the recording academy, all music gets submitted, the members listen to it, and they evaluate the quality of the art. Not the sales, not the streams, not how many fans, not how many followers. That's how you win a GRAAMMY." Prioritizing artistic merit while acknowledging the unique context and dynamism of African music could lead to more meaningful recognition.
We hope that by next year's event, the GRAMMYs will have taken strides towards a more inclusive and representative approach that allows African music to shine in all its multifaceted glory.
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Nathaniel Benjamin is a content writer with a passion for sharing life experiences, discussing pop culture, and offering fresh perspectives on familiar topics. He weaves personal narratives into thought-provoking pieces that spark insightful conversations. Find more of his work on Medium http://Medium.com/@IngeniusGemini