2026 Grammy Controversy: OAP Osi Slams Nigerian Submissions After Tyla’s Snub

The 2026 Grammy Awards have once again stirred debates and divided opinions, but this year, the controversy comes from a rather unexpected voice. Popular Nigerian radio host and on-air personality Osi has openly criticized the trend of Nigerian artists submitting songs for Grammy consideration, questioning the rationale behind the entries and sparking a heated conversation across social media. His comments came in the wake of Tyla, the South African singer, whose song was nominated but, according to Osi, did not achieve any significant chart success prior to the award ceremony.

Speaking during his morning show, Osi didn’t mince words. “If your song didn’t top any chart, if it didn’t resonate with the people, why are we submitting it to the Grammys? It’s frustrating to see artists chase international recognition without first solidifying their local fanbase,” he exclaimed, drawing both applause and criticism from listeners. His rant reflects a growing sentiment among some media personalities and fans who question the criteria Nigerian artists use when aiming for global awards.

Osi’s critique is especially pointed considering the rising prominence of Nigerian music on the global stage. Afrobeats and other Nigerian genres have dominated international charts in recent years, with stars like Burna Boy, Wizkid, and Tems making waves in America, Europe, and beyond. Yet, according to Osi, the trend of submitting songs for Grammy nominations has sometimes been more about appearances than actual impact. “We have incredible talent in this country, but talent alone isn’t enough. You have to measure influence, reach, and reception. If a song didn’t even chart in Lagos or Abuja, the chances of it making a mark internationally are slim,” he argued.

Social media quickly erupted after Osi’s comments aired. Some fans agreed with his assessment, sharing screenshots of songs submitted by Nigerian artists in previous years that, while critically acclaimed, failed to make significant waves in terms of commercial success. Others, however, accused Osi of undermining Nigerian talent and being overly critical. Many argued that international recognition is often about timing, marketing, and exposure, not just local chart performance. One Twitter user wrote, “Osi is forgetting that the Grammys aren’t about local charts. It’s about global impact. Nigerian artists are finally getting that chance—why tear them down?”

The debate also highlights the evolving relationship between African artists and global music institutions. Over the past decade, African music has transitioned from being a niche interest to a mainstream force in international markets. Burna Boy’s Grammy win in 2021 and Wizkid’s collaborations with global icons have set a precedent, encouraging more African artists to submit work for consideration. Yet, Osi’s argument underscores a tension between national pride and global ambition. “We want the world to see our talent, but we also have to ensure our work resonates at home first,” he said during the broadcast.

Tyla’s nomination seems to have been the catalyst for Osi’s rant, though it raises questions about the Grammy nomination process itself. Critics have often argued that the awards sometimes favor reputation and industry politics over measurable success metrics like streaming numbers or chart positions. Osi’s comments tap into this critique, emphasizing that Nigerian artists need to focus on tangible achievements before seeking recognition abroad. “There’s nothing wrong with aiming for the Grammys,” he admitted, “but it has to be earned. Don’t submit songs that haven’t even made an impact locally. That’s not ambition—that’s wishful thinking.”

The reaction from the music community has been mixed. Some artists have taken to Instagram and X (formerly Twitter) to defend themselves and their peers, arguing that the global music landscape doesn’t always follow the rules of local charts. Others acknowledged Osi’s points, admitting that sometimes submissions are made for visibility rather than because the song is a proven hit. One emerging Nigerian artist commented, “Osi has a point. It’s a learning process. We need to balance our local success with global ambition. You can’t skip steps.”

Industry insiders also weighed in, noting that while Osi’s comments may seem harsh, they reflect a broader conversation about strategy and representation. “Nigerian music has grown tremendously, but with growth comes responsibility,” said one record label executive. “When you submit a song for the Grammys, you’re not just representing yourself—you’re representing the entire continent. Ensuring the song has traction and resonates widely is essential.”

The discussion also raises questions about how success is measured in today’s music industry. With streaming platforms, social media virality, and international collaborations, chart positions are no longer the sole indicator of influence. Some argue that a song can have cultural impact even without topping charts, while others side with Osi, suggesting that measurable success should be the first criterion for international submissions.

Osi’s rant may have struck a nerve, but it has undeniably sparked important dialogue. It challenges artists, producers, and fans to reconsider what it means to represent Nigeria on the global stage. His comments also serve as a reminder that recognition and awards, while prestigious, should ideally follow genuine success rather than precede it.

Despite the backlash, Osi maintains his stance. In subsequent posts on social media, he clarified that his critique isn’t meant to discourage Nigerian artists but to encourage them to pursue excellence at home before seeking international validation. “I love Nigerian music,” he wrote. “But we have to be smart about how we present ourselves. Let’s dominate locally first, then conquer the world.”

As the Grammy season continues to ignite conversations, Osi’s rant serves as a wake-up call for Nigerian artists and their teams. It underscores the importance of strategy, planning, and measurable success, while also highlighting the high expectations placed on African talent as they step onto global platforms. Whether the music community will heed his advice or continue prioritizing visibility over local impact remains to be seen, but one thing is clear: the 2026 Grammys have become a catalyst for more than just awards—they’ve sparked a debate about ambition, authenticity, and the true meaning of success in Nigerian music.

In the end, Osi’s outspoken stance may be polarizing, but it cannot be ignored. For a music industry striving to balance local pride with international recognition, his words offer both a warning and a challenge. Nigerian artists are undeniably talented, but as the global spotlight grows brighter, the pressure to align ambition with impact has never been greater. The message is simple: don’t chase the Grammy if your song hasn’t already conquered the hearts of your own people. Only then can you truly make your mark on the world stage