The Grammy Awards saw South African singer Tyla secure the inaugural Best African Music Performance award for her hit single “Water,” a win that sparked discussion about the evolving landscape of African music and its recognition on the global stage. While the victory was celebrated as a landmark moment for Tyla and South African music, it also raised questions about the competition from established Afrobeats giants, notably Nigerian artists.
Richardine Bartee, a member of the Recording Academy, explained the decision-making process, emphasizing that Tyla’s win wasn’t necessarily about surpassing Afrobeats, but about the specific qualities of “Water” that resonated with voters. “It wasn’t a case of Tyla beating Afrobeats,” Bartee stated. “It was a case of ‘Water’ being the song that stood out to the voters. The song is just…different. It’s a vibe. It’s a sound that’s fresh and new.”
The success of “Water” and Tyla’s subsequent Grammy win are indicative of a broader trend: the increasing global visibility of African music. As highlighted in a recent New Lines Magazine article, African music is experiencing a surge in popularity, moving from its origins in Lagos and other African hubs to captivate audiences in Los Angeles and beyond. This rise isn’t limited to one genre; it encompasses a diverse range of sounds, from Afrobeats and Amapiano to Highlife and Coupe Decale.
Tyla herself is actively strategizing to capitalize on this momentum. According to Billboard, she intends to maintain a high profile, stating, “You’re going to see me everywhere.” This strategy includes the release of her debut album, A-POP
, announced at the 2026 Grammys. A preview of the album was also shared via East Coast Radio, signaling a deliberate effort to establish a consistent and recognizable brand.
However, the conversation surrounding Tyla’s win also touched upon concerns about the categorization of African music within the Grammy Awards. An op-ed in OkayAfrica argued that the “Best African Music Performance” category, while a step forward, potentially limits the scope and recognition of African pop music. The author suggests that the category’s structure could inadvertently create a sense of othering, rather than fully integrating African music into the broader mainstream.
The debate over representation extends to the historical context of Grammy recognition for African artists. Vanguard News recently published a list of Nigerian artists with the most Grammy awards, highlighting the achievements of artists like Burna Boy, Wizkid, and Davido. Despite their significant contributions to the global music scene, these artists faced stiff competition from Tyla this year, underscoring the evolving dynamics within the African music industry and its representation on international platforms.
Tyla’s win is particularly noteworthy as it marks the first time a South African artist has won a Grammy in this category. This achievement is significant for South Africa’s music industry, which has long been a breeding ground for talent but has often been overshadowed by the prominence of Nigerian Afrobeats. “Water”’s success demonstrates the potential for diverse sounds from the African continent to resonate with a global audience.
The song’s appeal lies in its unique blend of Amapiano, R&B, and pop influences. Its infectious beat and Tyla’s smooth vocals have garnered millions of streams and helped propel her to international stardom. The song’s virality on platforms like TikTok further contributed to its widespread recognition, demonstrating the power of social media in amplifying African music to a global audience.
Looking ahead, Tyla’s A-POP
album is expected to further solidify her position as a rising star in the global music scene. The album’s title itself suggests a deliberate attempt to define a new genre, blending elements of African pop with contemporary sounds. Her strategy of consistent visibility, coupled with a unique musical identity, positions her for continued success.
The impact of Tyla’s Grammy win extends beyond her individual career. It serves as an inspiration for other African artists and a signal to the Recording Academy that there is a growing demand for greater recognition of African music. The conversation sparked by the award ceremony is likely to continue, prompting further discussion about representation, categorization, and the future of African music on the global stage.
The success of artists like Tyla, Burna Boy, Wizkid, and Davido demonstrates the growing influence of African music on the global music landscape. As African artists continue to push boundaries and experiment with new sounds, their contributions to the world of music are sure to become even more significant in the years to come. The industry is watching closely to see how Tyla will navigate her newfound success and what impact her A-POP
album will have on the future of African music.
