Yemi Alade’s Grammy Nomination: A Decade of Consistent Greatness
There’s no way to think of Yemi Alade and not root for her. More importantly, there’s no way one can think of the artistry of Yemi Alade and not be impressed. So, when The Recording Academy announced nominees for the 2025 Grammy Awards, it was impossible not to feel a sense of pride at the inclusion of Yemi in the Best African Music Performance category, along with Asake and Wizkid, Chris Brown, Davido and Lojay, Burna Boy, and Tems. It is heartening that she remains a force to reckon with after ten years since her continent-wide hit, “Johnny”. At the risk of alienating the respective fan bases, perhaps no one deserves it more than Yemi Alade.
To start with, let us get the obvious out of the way: One, her incredible vocal talent, which her equally astonishing stage presence does not impede in any way. As far as Nigerian music goes, and by extension, throughout Africa, you would need help finding five singers with her range and versatility. She’s one of those vocalists whose voice is as powerful as it is soulful. Fittingly, her range is on full display on Rebel Queen, the album on which the nominated “Tomorrow” is the second track. Yemi Alade cannot be accused of being a bad vocalist.
Secondly, her consistency is something from which an emerging generation of artists can learn one or two things. It’s one thing to deliver impactful once or twice; it’s another to do consistently. In the words of the rapper Nas, “Now let me see you do the same thing twice, three times, four times, then a couple of more times.” In a world where talent is easily accessible, dedication to success requires that old-fashioned consistency is often the key. Such consistency is why Yemi Alade has had the longevity she’s had at a high level, defying the industry convention of quick rises and even faster falls. By steadily producing music, touring extensively and growing her unique community of fans, she has solidified her legacy as one of Africa’s best. Previously, in this column, I have drawn a parallel between her. Being unmistakably African in a global music space, Yemi is second only to Ms Kidjo. The fact that the two have a relationship is the cherry on the cake.
Can we also speak on her pioneering work on the Afropop scene? When she broke through with Johnny in 2014, she did so in the company of exceedingly tough competition, including the Mavin collective at the time, Olamide, Davido, Wizkid, Psquare, Phyno, Sean Tizzle, and some others. Since then, Yemi Alade has been the only one in the group that one can place on equal footing with the usual suspects, the most visible pair globally. Of course, popular music of Nigerian extraction had been in play in the previous decade; the new era of Afrobeats/pop/fusion was at its outset, and Yemi Alade was in the cohort. Ten years later, she’s just as significant.
However, the most compelling case of Yemi Alade’s Grammy win is her independent status. Today, the biggest acts in Nigeria and Africa are signed to major labels. Without putting anyone on blast, the likes of SONY, Universal, and Empire have helped several artistes attain the greatness they have now, which is not a bad thing; it is just stating the obvious that Yemi Alade has not had the resources that the major labels provide for acts on her level. Any observer of the music business can tell when a label or record company launches a massive PR campaign for its acts or pays them a huge advance. It is also commonplace for these companies with huge budgets to lobby insiders to get attention for their artistes. In the case of Yemi Alade, it’s been her and the company-of-one Effyzzie Music Group. For an entire decade, the synergy between the singer and the label has been impenetrable, and the company has focused all of its attention on just her.
It’s a risky move that may not have worked out. What if her music had stalled? What if the company couldn’t raise funds whenever she needed to make it? What if both parties had grown tired of one another and had ended things before Yemi reached her peak? There are so many valid what-ifs. The important thing is that the risk has paid off hugely. Not only has it done so, but it has propelled her to compete toe-to-toe with acts that are signed to the major labels. The import of this cannot—and should not—be lost on the audience that is often fickle and is prone to cannibalising everything for banter. Yemi Alade is THAT remarkable.
None of that might matter in the final analysis (especially to a voting academy that has made head-scratching past decisions). Who’s to say what would sway them to name Yemi Alade for the Grammy or not, or that winning one is the pinnacle of success she should aspire to? Yet, Yemi Alade’s undeniable talent and hard work deserve recognition globally, regardless of any awards or accolades. Her impact on the music industry is already significant, and her potential for even greater success is clear. One cannot but root for her to clinch this one.
The Jide Taiwo is a writer and media practitioner. His second book E File Fun Burna is available here.
