This is what we’re expecting the 2021 Grammy nominations to look like
Here are our predictions for the 63rd Grammy nominees
Let’s be honest, 2020 has been a shit show. From battling a global pandemic with seismic effects on the global economy and life as we once knew it, to rallying together in strong opposition against police brutality, racism, and years of corruption and violence in several parts of the world it has been a strife-filled year. Luckily, we’re near the end with only 5 weeks left, and are looking ahead into next year, with one of the music world’s biggest nights, The Grammy Awards looming.
Ironically, before the pandemic The Grammys were one of the last awards shows held in person, and other award shows throughout the year have become a virtual event, in efforts to remain socially distanced. However, come COVID-19 vaccine or not, the prestigious night is set to take place next January, celebrating the best of the fold for their achievements and contributions to music and wider pop culture this past year.
So far this year, the rookies seem to be dominating conversation, and seem to have been preparing for this pivotal moment. Roddy Ricch’s “The Box” remained at number one for over 10 weeks, and also racked up over 68.2 million weekly streams, which became the highest nonseasonal stream total since Lil Nas X’s almighty “Old Town Road” last summer. In addition, Roddy also joined Lil Baby as the only two rappers this year to go double platinum this year with the release of his single “My Turn” back in February. Both artists are a definite shoo-in for even more accolades 63rd Grammy Awards having already bagged similar awards at previous shows this year such as the MTV EMAs, the AMA’s, and the BET Hip-Hop Awards. The Weeknd’s ‘After Hours’ spent 34 weeks in the #1 spot on the Billboard R&B album charts and Summer Walker’s ‘Over It’ spent 58 weeks in the charts. And black women stole the show with Megan thee Stallion’s standout single “Savage” taking over the quarantine, and populating social media platforms from Twitter to TikTok before landing a Queen Bey stamp of approval with the “Savage Remix”. Cardi B and Megan thee Stallion’s “WAP” also broke the US record for the most first-week streams for a song and riled up misogynists in one clean sweep landing them the Best Hip-Hop/Rap song at the AMA’s yesterday.
Over in these parts, this year has been cosmic for African music on the global scene. There’s no denying that the world has turned its focus on Africa and the wealth of talent that exists across the creative arts, upping the stakes for many African artists and fostering an environment where they can attain global cultural relevance. Last year, Burna Boy was nominated for the former Best World Music Album category for his 2019 album, ‘African Giant‘, though he missed out on bringing the golden gramophone to Nigeria, this year the self-proclaimed African Giant returns with his third major-label release ‘Twice As Tall’, an undoubtably Grammy contender. Since he was nominated last year, conversation surrounding the Grammy’s have mostly been about him, however, he’s not the only one gunning for the glory. Many of the afropop’s current frontrunners have been positioning themselves for recognition on this scale for quite some time, and with big wig label signings, have increased chances of global recognition. Tiwa Savage and Sauti Sol are currently signed to Universal Music Group, while Nasty C recently penned a deal with Def Jam Records, Adekunle Gold with UK’s Virgin EMI Records and even younger, less mainstream acts such as Cruel Santino have bagged a joint venture deals with LVRN giving them higher chances of a cultural impact on a worldwide scale. This year also, the cross-Atlantic collaborations have only multiplied with standouts including Pop Smoke and Burna Boy, Nicki Minaj and Davido, Burna Boy and Naughty by Nature, Tiwa Savage and Sam Smith, Nasty C and T.I Tems, Davido and Khalid and so many more.
In the year after Burna Boy’s widely discussed Grammy nod and the Coachella fiasco, currently, Nigerian albums such as Burna Boy’s ‘Twice As Tall‘, Wizkid’s ‘Made in Lagos’ and Davido’s ‘A Better Time’ rank respectively at nos. 54, 80 & 170 on the Billboard Top 200 albums, typifying the current level of recognition that African music is garnering on a global scale. It doesn’t hurt that the music is also getting recognition on smaller circuits, Burna Boy bagged the MTV EMA awards in 2019 but was unsuccessful the following year losing to South African artist Master KG for his hit single “Jerusalema” (which the African Giant later featured on). Burna Boy later won the award for Best International Act at the BET Awards two years in a row and Mr Eazi recently won Best Best Urban Music Album for his work on J Balvin’s ‘Colours’. Given that award shows like the Grammys portray themselves to be the forebearer of music, culture, and entertainment, it only follows that recognition or nod from the Academy is seen as just indication that an artist has reached the upper echelons of success and popularity on a global scale.
In the past years, the Grammys have made a couple of changes to their set structures to be more inclusive to the diverse range of artists and music that we’re getting today. Earlier on in the month, the Grammys announced that they would be renaming the coveted ‘Best World Music Album’ category, to ‘Best Global Music Album’ stating that the change was pushed to better show cultural sensitivity.“As We Continue To Embrace A Truly Global Mindset, We Update Our Language To Reflect A More Appropriate Categorization That Seeks To Engage And Celebrate The Current Scope Of Music Around The World”, the statement read. The move was seen as long overdue as the former term ‘world music’ had always been under contestation given that it connotes the harmful colonial idea that there’s a catch-all phrase for every style of music from around the world that isn’t familiar to an American audience.
However, although the Grammys are just recently waking up to this development, it is yet to be seen how and if at all the scope of the award would change, possibly suggesting that nominees under this category would still remain wildly disparate and encompass artists from a diverse range of backgrounds and sounds, as it has in the past from Nigeria’s Burna Boy to The Netherland’s Altin Gün. Previous Grammy award winners such as Angelique Kidjo have been vocal about the outdated categorisation of the award show, in an interview with OkayAfrica, Kidjo, pushed back against the patronising attitudes embodied by the Grammys and emphasised that African music was far too distinct to be lumped into one category that failed to do justice to its diversity.
This time around, the stakes are even higher for the ‘Best Global Music Album’ win, in West Africa, both Burna Boy and Tiwa Savage have dropped albums that are eligible for nomination in the category. Over in South Africa, Nasty C made his first major-label release under Def Jam Records with ‘Zulu Man with Some Power’ and over in the East, Sauti Sol’s ‘Midnight Train’ is also eligible for nomination. Winning the award especially would mean so much in this year, where the pandemic and the global struggle for freedom on all fronts united our hearts and ears through music. We believe that the 63rd Grammys would show a lot of diversity this time around, encompassing artists from around the world. Owing to the remarkable run that afropop has had this year though, we’re hopeful that one of ours will take the prize home again this year. Burna Boy seems like the obvious potential for this year’s nomination seeing as the ‘African Giant’ lost out on the award last year to Angelique Kidjo but bounced back a year later with ‘Twice As Tall’. Coming back this year with a star-studded guest list that featured Naughty by Nature, Chris Martins, Stormzy, and Youssou N’Dour, Burna Boy’s global-facing agenda is clear, and he could very well bring the award home.
View this post on Instagram
With artists such as Tiwa Savage, Sauti Sol, and Nasty C, the prospect of nomination is hinged on the cultural impact that their albums have had since release. Earlier in the year, following the release of his album ‘Zulu Man with Some Power’, Nasty C set a new record for the most pre-adds for an upcoming album on Apple Music, as announced on Apple Music’s Africa Now radio show. He also featured American rappers like T.I, Lil Keed, Lil Gotit, and Ari Lennox, which earned him the title of the most streamed hip-hop/rap artist in Africa.
Similarly Tiwa Savage’s third studio album ‘Celia’ featured guest appearances from Sam Smith, Stefflon Don, Naira Marley, and more, earning the artist her well-deserved stripes as she made chart history throughout the country. ‘Celia’ was also very important culturally, as a female entertainer (and a mother) Tiwa Savage is chided by critics for the way she addresses sex and sexuality in her music, much like we find to be the case with other female artists such as Megan Thee Stallion, Cardi B and even Beyoncé. With ‘Celia’, African women are getting the nuanced and detailed representation of their lives by a woman who has lived through similar experiences and bounced back each time. Kenya’s Sauti Sol have become one of the musical groups to reckon with in recent times, with the group attaining a mainstay spot on many afropop albums that emerged from Africa this year including Burna Boy’s ‘Twice As Tall’, Niniola’s ‘Colours and Sounds’ and Davido’s ‘A Better Time’.
As the clock ticks and the time for the announcement of this year’s set of nominees draws closer, the team at the NATIVE compiled our predictions of 2021 nominees and potential winners across 10 categories including Best World Music, Best New Artist, Rap Song of the Year, and Best R&B Song. Have a look at our picks and see which ones you would stick or switch.
Best Global Music Album
Burna Boy – Twice As Tall
Tiwa Savage – Celia
Sauti Sol – Midnight Train
Nasty C – Zulu Man with Some Power
Davido – A Good Time
Best Rap Album
Roddy Ricch – ‘Please Excuse Me For Being Antisocial’
Run The Jewels – ‘RT J4′
Megan thee Stallion – ‘Suga’
Pop Smoke – ‘Shoot For The Stars, Aim For The Moon’
Lil Baby – ‘My Turn’
Best Rap Song
Pop Smoke – “The Woo”
Megan thee Stallion – “Savage”
Roddy Ricch – “The Box”
Doja Cat – “Say So”
Lil Baby – “The Bigger Picture”
Best Rap Performance
Run the Jewels – “Oh La La”
Megan thee Stallion “Savage Remix” featuring Beyoncé
Roddy Ricch – “The Box”
Drake & Future – “Life Is Good”
Lil Baby – “The Bigger Picture”
Best R&B Album
Summer Walker – Over It
Dua Lipa – Future Nostalgia
The Weeknd – After Hours
Chloe x Halle – Ungold Hour
Jhene Aiko – Chilombo
Best R&B Song
The Weeknd – “Snowchild”
Chloe x Halle – “Do It”
Teyana Taylor – “Wake Up Love”
Snoh Alegra – “Whoa”
FKA Twigs – “Cellophane”
Record of the Year
The Weeknd – “Blinding Lights”
Harry Styles – “Adore You”
Roddy Ricch – “The Box”
Megan thee Stallion – “Savage”
Lady Gaga – “Rain on Me”
Album of the Year
Taylor Swift – Folklore
Fiona Apple – Fetch the Bolt Cutters
Roddy Ricch – Please Excuse Me For Being Antisocial
Lady Gaga – Chromatica
Dua Lipa – Future Nostalgia
[wysija_form id=”1″]
Words by Tami Makinde, Nominations by the NATIVE team
ICYMI: The Grammys rename ‘Best World Music Album’ category
In Tribute To Daddy Lumba, Ghana’s Most Beloved Maverick
Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and...
Death is said to be the end of all things, but for some, it is just a process of immortalization. That is the case for legendary Ghanaian artist Charles Kwadwo Fosuh, also known as Daddy Lumba. On the 26th of July, 2025, reports of his demise spread across the world, causing doubts and confusion until his family released an official statement through its lawyer, Fati Ali Yallah, Esq., confirming the devastating news.
For six decades, DL, as he is affectionately referred to, has been a son, a husband, a father, an artist, a teacher, an innovator, and a cultural icon. The accumulation of the lives he lived has earned him the admiration and respect of Ghanaians and music lovers around the world for generations.
Daddy Lumba started exploring his musical talent in the 1980s during his time in secondary school, eventually emerging as the lead of the school choir. Years later, during his stay in Germany, he would be introduced to Highlife music through his friendship and partnership with Nana Acheampong. The duo would form the group “Lumba Brothers” and work on the project ‘Yee Ye, aka Akwantuom,’ which was released in 1989. After the group’s breakup, he launched his solo career with his 1990 solo debut album, ‘Obi Ate Meso Buo.’
Daddy Lumba would go on to have an illustrious career. Credited with over 30 albums and more than 200 songs, his seminal works included “Playboy,” Mesom Jesus,” “Aben Wo Aha,” Poison,” and “Sika,” to name a few. Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and art scene in Ghana. His control over his native language, Twi, allowed him to pen songs that spoke directly to the soul of the listener. His proverbial lyrics and addictive melodies made his songs easy listens for those who didn’t even fully understand the languages he sang in. He composed songs that served as a guide for people across the different facets of life.
Raised in a gospel background, Daddy Lumba blessed the world with multiple gospel albums that showed his admiration for God and were a testament to his past as a choir leader. In an interesting twist of events, he also had songs that dissected his thoughts on lust, love, and relationships and provided motivation and hope, as well as songs that would get you dancing. During his active years, Daddy Lumba’s songs ran wild across the media, streets, pubs, weddings, and funerals, and echoed from home to home across Accra to Europe.
As a student of Highlife, he ensured the growth and evolution of the sound through his songs and albums over the years. He mastered the craft so well that he would be instrumental in ushering in Borga/Burger Highlife, a sub-genre of Highlife that was steeped in contemporary influences and defined by its funky essence. Borga Highlife was not just in the sound but was also evident in his visual identity. He curated music and art in a style that bewildered people at the time. In today’s world, he would have been described as alté.
Beyond music, his influence on Ghanaian pop culture was immense. It was rooted in nonconformity and the deconstruction of stereotypes. While aspects of his music appealed to Ghana’s conservative outlook, he was also regarded by some as a moral miscreant. As the moral police came for his sensual lyrics and subversive influence on the youth, the love of the music from the wider public was louder.
Where traditional media tried to bury his songs, the masses gave them more life at parties, pubs, and any gatherings where music could be played. Around the early 2000s, Daddy Lumba would come to be accepted as a symbol of modern Ghanaian culture, eventually beating the system by finding a balance that appealed to those who wanted songs that mirrored their sensuality, youthfulness, and freedom without alienating the conservative faction of the country.
He introduced a swagger and flair to Highlife that many were not accustomed to. Winning over not just the older generation but also young people, both at home and abroad. From his many hairstyles–be it a fade, cornrows, or permed hair–he always stood out. Coupled with eye-catching aesthetics, as seen in his photos and music videos, he provided a visual blueprint that rising acts today still draw inspiration from.
Regardless of the genre, theme, or style, Daddy Lumba kept topping charts and winning over listeners. He wore many hats and played diverse roles, and executed all of them brilliantly. It did not matter if he was paying homage to his long-lost love on “Theresa,” bidding farewell on “Makra Mo,” singing praises to God on “Eye N’adom,” craving intimacy on “Pony/Enko Den,” or even preaching diversity on “Bubra,” it all came together as long as it was orchestrated by Daddy Lumba.
His songs not only mirrored his own experiences but also provided a sonic reflection of the lived experiences of the people who listened to his music. He was an artist for the people, and he never shied away from making his fans feel loved and heard.. DL was so enshrouded in Ghanaian popular culture that it is no surprise how many momentous Ghanaian occasions and memories of the last 30 years are intrinsically tied to his songs.
In a country where people often get backlash for showing their political affiliations, Lumba was appreciated more when he took a public stance on supporting a political party. He was so loved that his campaign song “Nana Winner” for the New Patriotic Party (NPP) is played at non-partisan events like raves and parties to a wild reception and excitement. Recognizing his influence, he always platformed talents as best as he could. He nurtured and mentored several artists. Through his album ‘Wo Ho Kyere’, he introduced Ofori Amponsah, his protégé, to the wider public. Ofori would go on to become one of Ghana’s most celebrated artists with hits like “Otolege,” “Odwo,” and “Emmanuella.” Daddy Lumba also mentored artists like Felix Owusu, Borax, and Ateaa Tina, among others.
While his peers were left behind with the advent of music digitalization, Lumba stayed with the times. His music became the stuff of urban legend and was among some of the most-streamed Ghanaian music across platforms in recent times. There were frequent conversations, stories, and breakdowns of his songs on social media, steered by a generation of older listeners, handing down a lived-in perspective for a younger generation. His career is a testament to the fact that good music will always stand the test of time.
When news broke of his death on the 26th of July, 2025, an entire nation fell into a state of mourning. Artists, politicians, and various individuals took to social media to share their condolences with the bereaved family. In a heartfelt message on his Facebook page, his old friend, Nana Acheampong, shared a farewell note to his old friend and brother: “You have indeed done what the creator brought you on earth to do, you will forever inspire generations,” he wrote in a post on Facebook.
Daddy Lumba lived an exciting life and had an enviable career working with artists of different eras. From Pat Thomas to Samini, Kwabena Kwabena, Okyeame Kwame, and Sarkodie, he collaborated with several acts. He also won awards and performed in multiple countries. However, his biggest win remains earning the love of an entire nation. Perhaps the most loved Ghanaian artist across generations, people were born to his music and buried with his music, completing the lifetime cycle with Daddy Lumba’s music booming in the background.
There have been public calls for a state burial for Daddy Lumba, with a vigil already planned for August 2, 2025, at Independence Square, Accra. Lumba’s legacy as an innovator and trailblazer will be etched in Ghanaian music history and the hearts of listeners across the world. He was a strong believer that he was just biding his time on earth, doing his best till it was time to leave.
While he departs the world, his songs and messages will continue to live on throughout time.
Keep reading...
Asake Links With Tiakola On Gritty “BADMAN GANSTA”
Another step towards ‘Money,’ his fourth
Street-pop star, Asake, has released a surprise new single titled “BADMAN GANSTA.” Produced by super producer, P.Priime, the single, Asake’s second of the year, arrives with a crisp black and white feature and a stellar guest verse from French rapper and singer Tiakola.
The singer posted the full music video–a monochromatic montage of dazzling shots and scenes of his opulent lifestyle–across his different social media handles on Thursday evening, July 24, with a caption that read, ‘The World Of Money.’
Earlier in June, the ex-YBNL star announced a new album titled ‘Money.’ A few months before that, he released a loosie titled “Military” and then “WHY LOVE,” his first official single under his new imprint Giran Republic. “Military” served as a bookend to the first arc of his impressive career as much as an announcement of a new era, while “WHY LOVE” officially kicked off season two.
Following the release of “WHY LOVE,” Asake has also featured on songs like Olamide’s “99,” J Hus’ “Gold”, and Young Jonn’s “Che Che,” delivering standout verses that favour a melodious, laid-back approach as opposed to the spirited, fast-paced style that earned him success early on. “BADMAN GANSTA” also excels with this approach, as Asake’s melodious musings about his current lifestyle dovetail nicely with Tiakola’s equally sturdy verse over a plush beat that samples Amerie’s 2005 classic “1 Thing.”
With Asake releasing three albums in as many years, it’s not unreasonable to assume ‘Money’ might arrive before the end of the year. There’s also the possibility that he might be willing to take his time a little more now, seeing as he his under his imprint now.
Whatever the case may be, ‘Money’ is likely to arrive sooner rather than later, and it will be fascinating to see what other aces Asake has up his sleeves.
Listen to “BADMAN GANSTA” here.
Keep reading...
Ayra Starr Releases Her Sizzling Anthem, “Hot Body”
An 11th-hour summer anthem for the
Ayra Starr has released her highly anticipated single “Hot Body.”
The Mavin popstar has been teasing the new single for a few weeks now, posting multiple promotional videos across social media that built up significant excitement for her third official release of the year. The release of “Hot Body” comes on the heels of recent reports that confirmed the Grammy-nominated singer had officially joined Roc Nation’s roster, the American music label, entertainment, and sports services company founded by rapper and business mogul JAY-Z.
Earlier in February, Ayra Starr shared “All The Love,” a sumptuous Afropop ballad produced by labelmate Johnny Drille and Teemode, before releasing the sleek and sensual Wizkid-assisted “Gimmie Dat” about months later. In that time period, the singer picked up two awards at the 2025 MOBO Awards for Best African Music Act and Best International Act before also clinching her first BET award for Best International Act in June.
It was recently announced that the pop singer would be joining Coldplay on the UK leg of their Music Of The Spheres World Tour between August to September, and her impressive year continues with the release of “Hot Body.” Once again, teaming up with close collaborator Ragee and UK production duo The Elements, Ayra Starr manages to deliver a sweetly erotic summer jam that’s sure to elicit plenty lip-biting, hip gyrating, and flirty winks. “Look what a hot body can do,” she sings repeatedly, almost like an enchantress performing a magic trick.
With her current deal with Mavin and Universal Music still running and the recent confirmation of her management deal with Roc Nation, it’s safe to assume that “Hot Body” might garner significant momentum both at home and abroad. Outside of her music, the singer recently wrapped up the shooting of the film adaptation of Tomi Adeyemi’s Children of Blood and Bone which is reportedly set for release in early 2027.
Listen to “Hot Body” here.
Keep reading...
