Harvey Mason jr. didn't just visit Africa — he was transformed by it.

In 2022, the Recording Academy CEO visited a number of African countries, where he met with leaders in the local music communities and intently listened to what each had to say.

"Mind-bending. Game-changing. Eye-opening," Mason jr. said of his trips to Africa. "There's so much music, so much creativity over there. Africa is the birthplace of, well, everything, but definitely music."

Accordingly, the universe of sounds coming out of the African continent can't be boiled down to just those having an international impact today, like Afrobeats or Amapiano. No, every corner of Africa is a fount of brilliant musical offerings. So it's incumbent on the Recording Academy, the world's leading community of music professionals, to reflect the momentum happening across Africa.

With this as the engine, the Recording Academy has revealed a thrilling new GRAMMY category in time for the 2024 GRAMMYs: Best African Music Performance.

Announced in tandem with two other exciting, new GRAMMY categories, including Best Alternative Jazz Album and Best Pop Dance Recording, the category elevates all flavors of African music — from Afrobeats to kizomba to Ghanaian drill to South African hip-hop — without regard to borders. Musical excellence from anywhere and everywhere in Africa will be carefully considered in this progressive category. 

While this development is a forward-thinking expansion for the Recording Academy, the GRAMMYs, and the international music industry as a whole, the new Best African Music Performance category is the "first step toward a much bigger, more fruitful journey ahead," Mason jr. tells GRAMMY.com. "And we're not done as an Academy: We're making sure that we represent music from that region fairly and accurately."

Read More: 2024 GRAMMYs: 4 Things To Know About The New Categories & Changes

To celebrate the new category, GRAMMY.com sat down with industry leaders — including Mason jr. — to discuss the story behind the brand-new Best African Music Performance GRAMMY category, its impact on the global music industry, and the future of African music.

These interviews were edited and condensed for clarity and brevity.

*Harvey Mason jr. Photo: Emma McIntyre by Getty Images*

Harvey Mason jr. 
CEO, The Recording Academy

Harvey, you've spoken extensively about your recent travels to a number of African countries. I've got to imagine those trips informed the new Best African Music Performance category.

Absolutely. I've done three trips to Africa in the last year. I spent a lot of time listening to and hearing from the music community there. There's such a massive amount of talent and creativity in that region, and we're starting to see that penetrating the U.S. market and global market — with Afrobeats and Amapiano and other African genres becoming so popular, driving the sound, and dictating the creativity of artists that are not from that region. You're seeing collaborations and features happening around those genres, which are becoming so popular and are moving the music landscape.  

During my time there, I heard from the African music industry, and they all felt like they weren't being represented in our GRAMMY Awards process. It was an eye-opening experience to see the love and respect for the GRAMMYs and the Recording Academy from the continent of Africa. But it was also disheartening to think that they weren't being heard in our process. 

That's why I'm really excited about this new GRAMMY category. And I'm really looking forward to seeing what kind of submissions we get and what impact that has on the genres coming from Africa. 

It's great to see the Recording Academy's purview spanning the entire African continent — not just popular sounds like Afrobeats or Afro Pop. 

It was important for us to make sure we tried to include as many genres as possible, knowing that we were not going to be able to put all the genres being created across the continent.  

We can't cover every genre as much as we'd like to and as much as they deserve to be recognized, so this is the first step toward a much bigger, more fruitful journey ahead. And we're not done as an Academy: We're making sure that we represent music from that region fairly and accurately. 

Read More: Love Burna Boy & Wizkid? Listen To These 5 African Genres 

Can you tell me about the deliberations behind the scenes at the Recording Academy that led to the creation of the Best African Music Performance GRAMMY category? 

Deliberations were pretty brief and succinct. Everybody acknowledged the importance of the music coming from that region, and everyone was supportive of the idea. The conversation really centered mostly around the nomenclature — what we were going to call the category — and how we were going to ensure that we represented all the different music that's coming from the region fairly, accurately and inclusively. 

Once we realized we couldn't cover everything, we tried to find the sweet spot for making sure that the category was named properly and fairly and in a way that would invite participation from as many people as possible. 

Where would you like to see the Recording Academy go from here, as per its embrace of African music from across the continent? 

I'd love to see the Academy continue to make sure that we're respecting all music, not just Western music. And I'd like to see us continue to evolve as we have been these past three years: remaining fluid and accommodating, quickly and swiftly, as new genres and new markets emerge. 

We need to go deeper and in more detail within different genres of music. We know there are multiple different types of music — hundreds of genres, in fact — coming from Africa and from all 54 countries on the continent. I'd love to see us be able to honor even more music from Africa and other areas of the world. 

The future of the Recording Academy is going to build on equity. We're not just honoring music breaking in our country — we're celebrating music from around the world. 

Read More: 7 Incredible Sets From AfroNation Miami: WizKid, Uncle Waffles, Black Sherif & More 

*Ghazi. Photo: Jessica Chou* 

Ghazi 
CEO/Founder, EMPIRE 

Tell me about the deliberations behind the scenes at the Recording Academy that led to the creation of the Best African Music Performance category.  

When we first had Shawn Thwaites, [the Recording Academy's] genre manager for Global Music & African Music, at our EMPIRE headquarters in San Francisco, we discussed the potential for this category to come to life. Not only has African music exploded on a commercial level, which warrants recognition, but on a cultural level, its impact has been immeasurable. Behind the scenes, we focused on sharing information with the Recording Academy that would be valuable to their committee deciding on this category, the consumption and the growth, specifically in North America.  

One could spend several lifetimes exploring the diversity of African music. How do you begin to boil all those sounds down to a small list of nominees?  

I think we'll see expanded categories in African music in the years to come, but this is a great start toward recognizing the merits and impact of African music. In the meantime, we look forward to working with the Recording Academy in putting together programming to help educate the current membership on the nuances and history of African music.  

This new GRAMMY category shows how the Recording Academy is truly a global entity with a global mission to support all music creators and professionals. Where would you like to see the Recording Academy go from here in its global mission to support the international music community? 

This is an exciting time in music. Fans are able to access any genre of music from any region of the world at any time. With that, it's inevitable that we'll see large-scale growth in international music in the coming years. It'll be imperative for the Recording Academy to establish a footprint, large or small, on every continent to work side by side with growing music communities around the world and support these artists and creators.  

*Tunde Ajaba-Ogundipe. Photo: Harvard Business School* 

Tunde Ajaba-Ogundipe 
GM, African strategy at Sony Music 
Co-founder, No Wahala

Tell me about the deliberations behind the scenes at the Recording Academy that led to the creation of the Best African Music Performance category.

With the Latin community as a reference, we knew that if we could assemble a group of like-minded folks to push the inclusion of diverse African music categories using a long-game strategy, we would be able to try, learn from the misses, optimize, and try again until we found ourselves reaching our goal. We successfully saw that change greenlighted, with the [Best World Music Album] category officially being renamed to [Best Global Music Album] [in 2020].

Throughout the process of appealing to the Recording Academy to have this category added, a key factor was finding like-minded individuals within the organization to form cultural bonds, exchange knowledge, and champion the goal as a unit. We formed think tanks with key allies across the African, American and U.K. music industries, like Angelique Kidjo, Don Jazzy, John Legend, Juls, Riggs Morales, Sevi Spanoudi, Joy Wayodi, and Falu.

After the inclusion of the [Best Global Music Album] category in 2020, we were able to gauge how to collectively push for more inclusion via African music categories. I am grateful that everyone really rallied together to reach the end goal.

In general, what does the international music industry need to do to elevate and honor the African music community and industry?

I always remain an optimist [regarding] African music continuing to influence the global pop scene. With recent waves of music dominance from the current generation of African stars, like Burna Boy, CKay, Oxlade, Black Coffee, etc., I've witnessed many in the industry [mistakenly believe] that similar waves of global recognition of African Music haven't occurred in the past across genres.

I think it means more because of the way music is consumed today and how the African music business — and the business overall — has evolved. It's a lot more challenging to break acts with the attention spans of listeners being more finite now than ever before. Yet, African labels are finding their way into the current landscape.

That said, we should recognize the African icons of the past generations, like Babatunde Olatunji, Sade Adu, Ali Farka Touré, Angélique Kidjo, Ladysmith Black Mambazo, Seal, Sikiru Adepoju, Youssou N'Dour, RedOne, and more, for their wins across GRAMMY categories in the past. It's hard to imagine African music having this moment across the industry without those pioneers opening the doors in an era where it was harder than ever to gain a global audience. They still laid the groundwork, which inspired this generation — directly and indirectly.

[The Recording Academy has] always recognized the opportunities for amplification of African artists, songwriters and producers. I'm a direct witness to their advocacy, championing, and, in some cases, direct education in the past few years to ensure that gaps are bridged between African and diaspora communities and the organization. I'm excited to see the evolution that lies ahead for African music within the Recording Academy and beyond.

*Shawn Thwaites. Photo: Reid Fowler*

**Shawn Thwaites**
Project Manager, Awards, The Recording Academy 

Why is it important that the Recording Academy created the Best African Music Performance category?

African music has been a direct influence on America [and other countries]. The unique musical styles and traditions of Africa are too undiluted not to have its own category. Giving African music its own category would highlight and celebrate the diversity and richness of Africa. This is a great step forward! 

Can you tell me about the deliberations behind the scenes at the Recording Academy that led to the creation of the Best African Music Performance GRAMMY category? 

We met with African music leaders, including artists and executives, and had in-depth conversations on ideas like the name of the category. This collaboration and discussion was a valuable way to ensure that the category for African music was created and remains healthy.

**One could spend several lifetimes exploring the diversity of African music. How do you begin to boil all those sounds down to a small list of nominees?**

The Recording Academy is a peer membership organization. Tracks will be considered by the merit of a song among the voting membership, regardless of its country of origin. This process includes a listening component where screeners are carefully selected to screen the music. 

Our product eligibility period for the 2024 GRAMMYs is Oct. 1, 2022, through Sept. 15, 2023. Eligible tracks/singles include vocal and instrumental performances, with strong elements of African cultural significance that blend a stylistic intention, song structure, lyrical content and/or musical representation found in Africa and the African diaspora.

**In general, what does the international music industry need to do to elevate and honor the African music community and industry?**

By celebrating the diversity of African music, we can spread awareness through cultural exchange: more collaborations between artists of different genres and more artist relations between labels and executives in America. 

Where would you like to see the Recording Academy go from here in its global mission to support the international music community? 

By recognizing the talent and creativity of musicians from diverse backgrounds, the Recording Academy can promote greater understanding and create a more inclusive and diverse global music community. 

*Rikki Stein. Photo: Chantal Azari* 

Rikki Stein 
CEO, Kalakuta Sunrise LTD, a holding company for Knitting Factory Records and Partisan Records

Why is it important that the Recording Academy created the Best African Music Performance category?

Stein: I have long considered Africa as having a tremendous contribution to make in the world, which has yet to be seen and fully appreciated. One day, one day!

Meanwhile, the simplest and most easily accessible aspect of Africa's attributes is its cultural treasure, within which music takes pride of place. In clubs and venues throughout the world today, music from Africa is being enjoyed. Good reason, indeed, for including Best African Music Performance as a GRAMMY category!

One could spend several lifetimes exploring the diversity of African music. How do you begin to boil all those sounds down to a small list of nominees?

Stein: There are certainly a plethora of young [artists] vying for well-earned attention, but let's not forget the previous generation of artists whose music continues to delight fans across the globe.

As Fela Kuti's friend, manager and defender of his legacy, I derive great satisfaction, 25 years after his passing, from seeing the millions of monthly streams of his music. And when I look more deeply into where people are listening to his 50-album catalog, I discover it's everywhere! Khazakstan, Jakarta, Reykjavik, Osaka, as well as the more predictable U.S. and European destinations. So let's not forget the golden oldies!

In general, what does the international music industry need to do to elevate and honor the African music community and industry?

Stein: As a promoter of African music for over 50 years and having spent many of those years banging my head against a glass ceiling, I'm able to give a sigh of relief at seeing serious cracks appearing in that ludicrous structure which — who knows — may well even burst asunder and be no more!

So, let's big up the GRAMMYs and the Recording Academy for making this major contribution to its demise.

*Julian "Juls" Nicco-Annan. Photo: Dbcaptures*

Julian "Juls" Nicco-Annan 
Record producer, DJ and songwriter

Why is it important that the Recording Academy created the Best African Music Performance category?

I think it is an amazing addition to the category, given the fact that Africa has a massive impact on music and culture worldwide. It's important for the roots of African culture and sounds to be showcased on a higher stage such as the GRAMMYs to show the world how powerful and influential our sound is. African pop music and culture have been on the steady rise for the last 15 years. It's great to see the GRAMMYs finally take the step to make this happen for us and the continent.

One could spend several lifetimes exploring the diversity of African music. How do you begin to boil all those sounds down to a small list of nominees?

This is where it gets tough. People love to look at West Africa and South Africa predominantly because currently, those sides of the continent are at the forefront.

But East Africa has given birth to some incredible talent. It's important for Africans to push forward to become Recording Academy members, so they can have a voice to push their talent. Experts from different sides of the continent have to advocate. Representation is so important.

In general, what does the international music industry need to do to elevate and honor the African music community and industry?

I think a bit more research into who has been shaping the sound over the last few years is important. Engaging with many who have been documenting the journey of the genre [is important] as well. An African GRAMMYs show would be incredible. Latin America has one, and it has been incredibly successful over the years. 

This new GRAMMY category shows how the Recording Academy is truly a global entity with a global mission to support all music creators and professionals. Where would you like to see the Recording Academy go from here in its global mission to support the international music community? 

We need more members and more seminars to educate the artists and management back home about the [GRAMMY Awards] process and actually explain things properly. There's a massive disconnect — that gap should be bridged.

What are some African music albums, songs or artists you're personally enjoying right now and would like to shout out?

At the moment, Davido dropped an incredible body of work, Timeless, with the hit record "Unavailable." Worlasi from Ghana dropped a very in-depth and incredible album called The.rap.y, which touches on social issues men and women face; very deep album. I released a single with South African sensation Ami Faku called "Terrified" and J Hus' new record, "Who Told You."

Read More: 5 Artists Essential to Contemporary Soca: Machel Montano, Patrice Roberts, Voice, Skinny Fabulous, Kes The Band

*Mobolaji Kareem. Photo courtesy of EMPIRE*

**Mobolaji Kareem**
Regional Head West Africa, EMPIRE

Why is it important that the Recording Academy created the Best African Music Performance category? 

Africa has a rich and vibrant history with 54 diverse countries. There are just as many, if not more, genres of music across the continent, so it's viable to have this category as a starting point that can help define the music coming from here. With this category, a lot more artists/songs … can now have their own stage to compete and be celebrated globally. 

In general, what does the international music industry need to do to elevate and honor the African music community and industry? 

The African music landscape has exploded globally and needs to continue to be exposed to the masses to help promote inclusivity and appreciation for the art.

Every mainstream music or sporting event, radio station, and beyond should have African music as part of the program to allow for maximum impact. African voices also need to be represented and involved in the decision-making, so this is a crucial step taken by the Recording Academy to give the music coming out of this continent the exposure and reach it deserves.

What are some African music albums, songs or artists you're personally enjoying right now and would like to shout out?  

Burna Boy - Love Damini
Asake - Work of Art
Black Sherif - The Villain I Never Was
Bad Boy Timz - No Bad Boy, No Party

7 Incredible Sets From AfroNation Miami: WizKid, Uncle Waffles, Black Sherif & More

To say that the past year has been an eventful one in the dynamic world of Afrobeats would be, at best, a gross understatement. The genre's list of global accolades has continued to swell in size, including multiple nominations at the 2024 GRAMMY Awards, expansive cross-border collaborations, and inaugural appearances on some of the world’s most coveted stages.

Simultaneously, Afrobeats has been undergoing something of an identity crisis, in which listeners have criticized sonic monotony and Western pandering of some artists. In the immediate wake of this criticism, as though on cue, came a slew of forward-thinking projects from the genre’s biggest stars, igniting the mainstream scene’s creative progression. Among these stars is 23-year-old Afrobeats sensation Anthony Ebuka Victor, known widely as Victony.

His debut album, Stubborn, is barely two months old yet has already received high acclaim from top Afrobeats pundits and laymen alike. Therein, Victony tells his life story for the first time, complete with vivid songwriting that delves into themes of childhood, romance, and dogged resilience. With features from Nigeria’s Asake and Shallipopi, as well as American acts Teezo Touchdown and Saint JHN, Stubborn's sonic meter explores Afrobeats with unending - and unmatched - innovation.

Victony, however, is no novice when it comes to putting out pristine bodies of work. His 2020 EP Saturn sounded nothing like a 19-year-old’s debut; singles “Jo Riddim” and “Space and Time” revealed serious sonic maturity. His subsequent EP Outlaw, which followed his breakout as the feature on Mayorkun’s “Holy Father,” included addictive hits “Apollo,” “Jolene,” and “Soweto.” The latter, of course, took the world by storm and led to a remix featuring Don Toliver and Rema, which peaked at No. 5 on the Billboard Afrobeats chart.

Between this, his debut on the ColorsxStudios platform, his assist on Burna Boy’s “Different Size,” and his record deal with the L.A.-based Encore Records, it is difficult to tell just when this young boy from Ojo, Lagos became a continental and global star. What’s more, he’s soon to push his story outside of Nigerian borders, kicking off his Stubborn North American tour on Aug. 6. 

Ahead of this tour, Victony sat down with GRAMMY.com to discuss his creative process, the importance of telling his story, and all things Stubborn.

'Stubborn' features excellent songwriting about your life experiences, though it's not the first time you've done so. What makes 'Stubborn' different from the other work in your discography?

Stubborn has my story; it’s where I get to properly introduce myself. The [Outlaw] EP is like Yeah, this guy can sing, he knows all this Afrobeats stuff. Let’s put a good body of work together for people to enjoy. The Stubborn album is saying, This is Victony. This is where he’s from. This is what he’s about.

You’ve mentioned before that veteran Nigerian rapper Olamide encouraged you to make 'Stubborn' a full-length album as opposed to an EP. Had you been ready for an era shift at the time that you spoke to him?

I was prepared for an era shift, but my mind was just stuck on an EP because that was the plan since last year. Sometimes, you can’t even see what everything looks like when you’re really in it. You have to extract yourself from the situation and really look at it. But speaking to Olamide, once he mentioned the album, it felt possible. I was like, Why am I not even thinking about an album? 

'Stubborn' is an incredible testament to resilience, but you also explore other themes like love and betrayal. What is the overarching message that you wanted the project to convey?

Resilience is the boldest statement that the project has. But within all that, there are other things that I’ve been through, like the stuff that you mentioned, that didn’t change me as a person.

I still have the ability to love, and I still have the ability to receive love. So obviously, that reflected in a few songs on the project because I still go through those emotions. I’m still human regardless of everything I've been through.

Your feature list is quite expansive — we have Shorae Moore, Shallipoppi, Saint JHN, Teezo Touchdown, and Asake. Did you have an idea of who you wanted on the project beforehand, or was your feature selection process more organic?

I’m always curious to see what this and this will sound like, or what doing this and this will look like. So I just make songs and think about who will be perfect on those songs. I didn’t think of it as, I want an album, who are the guest features? 

One thing that the features all have is authenticity. These people have a voice, they have a style, they have something that they stand for. And that is something that Stubborn is also preaching — authenticity. So collaborating with these people helped to bring very interesting ideas to life. Because one wouldn’t ordinarily imagine a Victony and Asake feature, or a Victony and Teezo feature. But when somebody who is authentic collaborates with somebody who is authentic, something has to happen. We were just trying to create something, and I love creating. 

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

You have a U.S. tour coming up which is extremely exciting. You’ve toured with Rema before, but this will be your first-ever solo tour. How are you feeling? 

I’m actually very excited. We’ve been planning what we want the tour to feel like, because it’s important to think about the feeling that you want to leave people with. I think that this tour is the biggest opportunity to showcase what the album is really about. Having to go on stage, perform for an hour plus. I don’t think I've ever done that nine times in a row in nine cities. So we’re planning everything to make that all come to life.

What do you want your U.S. audience to take away from your tour?

I want my U.S. audience to feel the essence of my journey and connect with my music. This tour is a journey through my experiences and my evolution as an artist. You'll get the party anthems as well as the soul-stirring ballads. I want them to leave each show thinking, This is what that Victony guy is about: raw talent, authenticity, and a sound that resonates deeply.

Give us your Afrobeats predictions for the year — what should we expect from the scene?

I just feel like it’s about to be a madhouse. Tems just dropped, Ayra Starr just dropped, Ruger & BNXN just dropped. And Wizkid is yet to drop, Davido is yet to drop, Fireboy DML is yet to drop. I don’t think we’ve had a year like this. Ever. It’s like everybody is dropping a project this year.

Read more: Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

My prediction is that this is the start of something for Afrobeats. Before now, what people would tell you is that Afrobeats artists all share one fanbase. But everything is about to change because of the volume of music coming out. It’s going to really push structure with the fans.

Looking back from your debut EP to the present day, what comes to mind? Did you foresee yourself becoming what you are now?

I always knew that everything that’s currently happening would happen. I just didn’t know what was going to make it happen. I didn’t know that this was the direction. It’s been interesting because at one point, you just have life experiences that influence your art, and then the direction changes. That’s what it’s been for me because I like my art to reflect who I am at any given time.

So, who knows what’s going to happen next? After Saturn, I didn't foresee my story changing. And now new experiences have come, and those have also changed me. I don’t know what’s going to happen next, but one thing’s for sure, the journey is just beginning. I’m excited to see where this path leads and to continue sharing my story with the world.

Before Afrobeats icons Burna Boy, WizKid, and Tyla became globally recognized household names, Yemi Alade was the continent’s biggest pop star. On July 26, she will release her sixth studio album, Rebel Queen, which expands her repertoire with a world of adventurous pop sounds.  

The Nigerian singer/songwriter burst onto the African pop music scene in 2014 with "Johnny," a now-classic tune that gained acclaim by its iconic video featuring a TV news reporter tracking the titular womanizer. The video made her the first Nigerian female artist to hit 100 million views on YouTube.  

Since then, Alade has had an illustrious career, collaborating with artists including Rick Ross, earning another 100 million-view video for "Oh My Gosh," and featuring alongside fellow Africans Mr. Eazi and Tekno on the Beyoncé-curated soundtrack for The Lion King.

Her latest album, Rebel Queen, includes high-profile collaborations with Angélique Kidjo, Ziggy Marley, and dancehall star Konshens. The album promises a genre-jumping journey across the globe, incorporating amapiano ("Soweto to Ibiza"), highlife ("Chairman"), and even reggae ("Peace and Love") and dancehall ("Bop’).

Ahead of Rebel Queen’s release, GRAMMY.com caught up with Alade about her progression as an artist, what it was like to work with Beyoncé and her team, and bridging international success.

This interview has been edited for clarity and length.

Your new album, 'Rebel Queen', contains influences from all over Africa and beyond. Was that intentional?

Yes, you're correct that I wanted to make sure that the album had sounds that I actually genuinely love, from the amapiano influence to dancehall. And also, I personally wanted to go back to the foundation of Afrobeats, which are sounds and genres that I listened to growing up as a kid. When my parents took me to family parties, there were certain melodies and guitar strums that I fell in love with. And I wanted to revisit those nostalgic moments and put it all in this album.

There are a lot of high-profile collaborations on this record, such as Anjélique Kidjo and Ziggy Marley. How did you decide who to work with on 'Rebel Queen'?

Honestly my life is a roller coaster, same for every touring artist. We try to gather as much as we can while being in motion. Anjélique Kidjo is like my music mum, I love her. And when I made the record, "African Woman," who else would I feature on such a song if not Anjélique? And as for Ziggy, he and I have a song that we did previously ("Look Who’s Dancing Now"), which was his song, and he featured me. And I wanted a tit-for-tat moment. So I sent the song to him. I felt like, who else but him? Every feature was necessary to complete the melody for each song, they are such a huge part of each one, not just in the fresh vibe that they bring. 

Learn more: Watch Yemi Alade's Enchanting Performance Of "Tomorrow" | Global Spin

It’s been ten years since you broke out with the massive hit "Johnny." Back then, African pop music was relatively unknown in America. Since then, African artists have gained global recognition. Do you see yourself as a pioneer for the current Afropop movement?

I agree with you 100 percent, there is no way you authentically go through the history of, you know, building a bridge between Africa and the rest of the world via music without mentioning a song like "Johnny." It's definitely an honor for me to be the vessel that delivers such amazing music to the world. Of course, there were people way before me who also did the same thing. We're talking about Fela [Kuti]. We're talking about King Sunny Ade. At the end of the day, yes, music is metamorphosing into so much more. And definitely, I'm a pioneer [laughs].

You have a strong sense of storytelling, especially in your music videos. "Johnny" has an entire storyline about a news reporter investigating a womanizer. How important is that kind of storytelling to your music?

Storytelling is a big part of my artistry, because I feel everybody loves a good story. I find that even when I'm writing most times in the studio, there's always a picture I'm trying to paint, and it only makes sense for the visuals to kind of match that most of the time. Except sometimes we decide to make it a performance video because I just feel like dancing.

What’s the most memorable video you’ve ever done?

Every one of my videos has taken a lot of pain, sweat, and even some tears. But I think "Johnny" is such a masterpiece, because it resonated with the entire world, and Africa especially. And it pretty much helped me to stay on my way through the industry, because it became my identity. That song and that video was the platform for the brand and everything that I am today. you know, so that is definitely the most memorable, in a good way.

You've traveled to and performed in America several times in your career. What's your overall impression?

I think I've done four or five American tours. And yo, America is so big [laughs]. My first American tour had me in shambles, because of the flights. I didn't realize that to go from one city to another, I might have to connect once or twice depending on how far I'm going. So the flights had me in shambles, but the energy of the people? Oh my days, lit! America is definitely one of my favorite places. I’m always reminding my agents to make sure that they include American cities on my tours, which is why even for the album listening parties for Rebel Queen, we did the first one in Paris, then London, and then we had to come to New York as well. And then just yesterday, we had one in Lagos as well.  

Since you first became popular, a lot of Afrobeats artists have gained a following abroad like Burna Boy and WizKid. It seems as though, at least looking at the artists that break outside of Africa, that the genre is still very male-dominated. Do you agree with that? And do you think there’s potential for more female artists to break out internationally?

Honestly, when I started out, the odds were really way more against women than they are right now, in that, there were female artists sprouting maybe once every two years, or once every year, and barely hanging around long enough. But now, the story is different. And I give kudos to all the women before me and all the women with me. Yes, in a male dominated society, it seems as though my male counterparts get their roses and their flowers for a second. And you know, once in a while someone comes back and remembers, "Oh, there's Yemi Alade." Do you know what I mean? 

I was speaking to someone earlier today and I was saying, I think what surprises me the most is that, I feel like there are no expectations of female artists. So like, if we do or we don't, people are just moving on. But I'm not the one to play victim, never. Despite the odds, you see that the females continue to be resilient, because we know. I know deep within that my existence is definitely of value to so many people out there.

What do you think of the upcoming generation of talent like Tems and Ayra Starr and Tyla, who recently won the first GRAMMY Award for Best African Music Performance for "Water?"

Exceptional, exceptional artists. As you just mentioned, they're doing amazingly well. And, you know, these women are unique in their own ways. And I want to just say that I believe it's just the starting point for them. There's so much to come. And there's so many other females that are still en route to greatness.

How have you seen the music industry in Africa evolve? And what sorts of challenges do you think African musicians face today?

I personally feel like, with all the momentum that Afrobeats has got, we need authentic platforms that can actually check the streaming numbers that are coming in for music, especially within Africa. Because at the moment it’s mostly Apple, Spotify, etc. But there are other platforms here in Africa that most Africans use, and they have more of a database compared to Apple and Spotify. We've come to a point where we need to have more credible numbers, because there's millions of people streaming music in Africa that are not on those platforms.

So you think that these local platforms need to be counted alongside Apple and Spotify?

100 percent. In Nigeria there’s two: Audiomack and Boomplay. Boomplay is a big deal.

You’re going on a decade in the industry. In all that time, what's one moment or one achievement that gives you the greatest sense of accomplishment? What are you most proud of in your career?

That’s a big question…I think I have an idea, because there've been so many moments in my life and in my career that have aligned with my dreams coming true. Number one is each time that I'm approached by a complete stranger and the stranger tells me "Oh my God, Yemi. You don't know what your music has done for me. Your music has gotten me through so much grief." Some people walk up to me and tell me that they just had the biggest struggle in their life and they listen to my music, and it always sends them into a realm of joy and happiness. Honestly, I feel accomplished in those moments, because when I record my music, I always say, the thing I'm trying to spread through my music the most is love, joy and happiness. So to have people testify to that, it means to me that the magic is complete, that my job is actually effective. So that makes me feel very accomplished. 

On a personal note, an accomplishment that I am most grateful to is the fact that I'm always able to comfortably take care of my family. It's something that I would never play down. You know, I'm just grateful to God for that. 

And lastly, aside from winning a GRAMMY through Angelique Kidjo — you know, I've met a lot of amazing people, and Beyoncé is one of them. So at the end of the day, it's a full circle moment for me. I'm just enjoying the ride.

You know, it’s funny you mentioned Beyoncé, I was just about to ask you what it was like to work with her. 

Oh my days — wow, working with her, it was such an experience for myself and my team. It was like, we're literally awake, walking in the dreams that we have dreamt for so long.The process of her team contacting us was a bit weird, because my management didn't realize that Parkwood [Entertainment] was a real company, that they were emailing them and talking about Beyoncé. They assumed that it was some kind of scam artist. But when they had sent it to me, I was like "What? Parkwood? Who doesn’t know Parkwood is Beyoncé?" 

So it turned out that it was for real, and we went to L.A. where the studio was, and I lost my voice for 24 hours — I couldn’t talk, I couldn’t sing. I just soaked up all the vitamin C's and hot teas and Throat Coats I could get. I managed to regain a little bit of my voice back and that's what I was able to record that day. That was a miracle for me. But one of the most memorable moments was actually meeting her in person. After the album, Lion King, came out, the movie was being premiered in London, and I happened to be in London at that time. We had met her in person, we met Jay Z. It was such a full circle moment. Honestly, that lady has really touched my life in a way that I will never forget. Because she could have lived her life without doing what she did, but she decided to reach out to people she felt were pillars of African music and pay homage to Africa. And I'm happy to have been part of that moment.

Editor’s Note: Updated to add the Instagram Live video featuring Harvey Mason jr. and Stevie Mackey.

The Recording Academy continues its mission to empower music's next generation with the launch of its second specialization in the GRAMMY GO platform: "Music Production: Crafting Award-Worthy Songs."

This new course, a partnership between the Recording Academy and leading online learning platform Coursera, aims to bolster the technological and audio skills of music producers of all levels. The course, taught by Howard University professor and GRAMMY nominee Carolyn Malachi, features appearances by three-time GRAMMY winner and rap icon Hit-Boy, chart-topping and GRAMMY-winning producer/songwriter CIRKUT, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman.

Enrollment for "Music Production: Crafting Award-Worthy Songs" is open now.

Mixing a unique blend of theory and practice, the course teaches music creators of all levels the advanced skills and tools to develop the mindset and confidence of an experienced producer and produce songs of the highest industry standards across all genres. Explore the wide-ranging roles of a music producer, develop critical listening and analysis skills, and master the technical aspects to create music and compositions that cut through the noise. The course's applied learning approach allows learners to sharpen their pre-production skills, utilize Digital Audio Workstations (DAWs) effectively, and produce vocals, instrumentals and samples collaboratively. Through critical listening exercises and discussions, learners will refine their abilities to deliver professional-quality demos.

To celebrate the launch, the Recording Academy hosted an Instagram Live session on Tuesday in which guests Harvey Mason jr. and Stevie Mackey discussed the evolving role of music producers, strategies for working with artists, key elements of top-notch productions, common mixing mistakes, tips for keeping the creative process fresh, and enrollment details for the course.

Read more: How The Recording Academy's GRAMMY GO Is Building A Global Online Learning Community & Elevating The Creative Class

Building on the success of its first specialization, "Building Your Audience for Music Professionals," GRAMMY GO continues to offer industry-focused education tailored for emerging and established music creators and professionals alike. The innovative platform provides learners with real-time insights from leading music industry figures, ensuring the content remains practical and up to date. GRAMMY GO will also serve as an essential tool in the Recording Academy's global expansion into Africa and the Middle East, empowering music creators through enhanced training, bridging knowledge gaps, and fostering connections within the global music community.

Launched in April in partnership with Coursera, GRAMMY GO is the Recording Academy's first creator-to-creator platform, offering innovative courses tailored for both emerging and established music professionals. The initiative accelerates the Academy's global mission and reinforces its commitment to music education, providing a seamless bridge between all Academy initiatives.

Learn more about GRAMMY GO and the "Music Production: Crafting Award-Worthy Songs" and "Building Your Audience for Music Professionals" specializations.

Watch the Instagram Live session with Harvey Mason jr. and Stevie Mackey in full below:

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It’s officially awards season! Today, the nominees for the 2024 Emmys dropped — and, happily, the 2024 GRAMMYs telecast received a whopping five nominations.

At the 2024 Emmys, the 2024 GRAMMYs telecast is currently nominated for Outstanding Variety Special (Live), Outstanding Production Design for a Variety Special, Outstanding Lighting Design/Lighting Direction for a Variety Special, Outstanding Sound Mixing for a Variety Series or Special, and Outstanding Technical Direction and Camerawork for a Special.

Across these categories, this puts Music’s Biggest Night in a friendly head-to-head with other prestigious awards shows and live variety specials, including the Super Bowl LVIII Halftime Show starring Usher as well as fellow awards shows the Oscars and the Tonys.

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2024 was a banner year for the GRAMMYs. Music heroes returned to the spotlight; across Categories, so many new stars were minted. New GRAMMY Categories received their inaugural winners: Best African Music Performance, Best Alternative Jazz Album and Best Pop Dance Recording. Culture-shaking performances and acceptance speeches went down. Those we lost received a loving farewell via the In Memoriam segment.

The 2025 GRAMMYs will take place Sunday, Feb. 2, live at Crypto.com Arena in Los Angeles and will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.