2026 Grammys: Why Influencer VeryDarkMan Advocated for Davido to Win Best African Music Performance

The conversation surrounding the Grammy Awards, particularly the Best African Music Performance category, is rarely just about the music. It’s a nexus of cultural pride, industry politics, and fan fervor. A recent viral commentary from Nigerian social media influencer Vincent Martins Otse, widely known as VeryDarkMan (VDM), crystallized this perfectly following the hypothetical (or reported) results of the 2026 Grammys. His stance—expressing a desire for Davido to win over South Africa’s Tyla to create “a balance” among the so-called “Afrobeats Big 3”—ignited widespread debate. This article provides a clear, pedagogical breakdown of VDM’s argument, the historical context of the Grammy’s African category, the dynamics of the Afrobeats elite, and what this discourse signifies for African music on the global stage.

Introduction: Beyond a Win—A Question of Symbolic Balance

When the Grammy Awards recognize African music, the ripple effects are felt across continents. The introduction of the Best African Music Performance category in 2024 was a landmark, yet its outcomes have sparked complex conversations about representation, regional rivalry, and artistic legacy. VeryDarkMan’s public reaction to a (hypothetical or reported) 2026 outcome—where he stated he “sought after” or “wanted” Davido to triumph—transcends simple fan preference. It introduces a framework of “balance” within the pantheon of Nigerian Afrobeats superstars. This piece will dissect that framework, examine the validity of his claims, and explore the broader implications for artists like Burna Boy, Wizkid, Ayra Starr, and Omah Lay.

Key Points: Summarizing VeryDarkMan’s Stance

To understand the analysis, one must first grasp the core of VDM’s argument as presented in his video commentary:

• The “Afrobeats Big 3” Equilibrium: VDM references the informal “Big 3” of Nigerian Afrobeats: Davido, Burna Boy, and Wizkid. He notes that Burna Boy and Wizkid have already secured Grammy wins (Burna Boy for Best Global Music Album in 2021, Wizkid for Best Global Music Album in 2022, and both have been nominated/recognized in the new category). He posited that a win for Davido in the dedicated African performance category would symbolically “balance” the Grammy achievements among these three iconic peers.
• Appreciation for All Nominees: He explicitly gave “shoutout” to Davido, Burna Boy, Ayra Starr, and Wizkid, acknowledging their efforts and the quality of their entries, stating the Nigerian songs were “very good.” This separates his critique from simple dismissal.
• The Tyla Precedent: His commentary reacts to a scenario where South Africa’s Tyla won the award for a second time (following her 2024 inaugural win for “Water”). VDM’s preference for Davido is framed as a desire to see the award rotate back to Nigeria’s biggest star within this specific, newly minted category.
• Social Media Dynamics: He candidly admitted to enjoying the “cruise” or playful rivalry between the fanbases of the “Big 3” on social media. A Davido win would fuel this engaging, competitive dynamic.

Background: The Grammy’s African Category & The “Big 3” Legacy

The Inception and Evolution of Best African Music Performance

The Recording Academy introduced the Best African Music Performance award at the 66th Annual Grammy Awards in 2024. This was a pivotal moment, moving African music from the broader, often criticized “World Music” umbrella into a distinct, genre-specific category. The category is designed to honor “track(s) from the African continent, featuring local melodic or harmonic traditions.” Its first winner was Tyla for “Water.” The 2025 and 2026 iterations (the latter being the focus of VDM’s comments) continued to highlight the continent’s diverse sounds, from Amapiano and Afrobeats to Afrofusion.

An immediate and notable trend emerged: in the category’s short history up to 2026, only female artists had secured the win (Tyla in 2024 and, per the scenario, again in 2026). This fact adds a layer of gender dynamics to VDM’s call for a male artist (Davido) to win, though he did not explicitly frame his argument in those terms.

Defining the “Afrobeats Big 3”: Davido, Burna Boy, Wizkid

The term “Big 3” in contemporary Nigerian pop culture refers to the three artists who have consistently dominated the Afrobeats international export scene for nearly a decade:

• Davido: Known for his anthemic, celebratory sound and massive crossover hits like “Fall,” “Feel,” and “Unavailable.” He is a master of melodic, accessible Afrobeats with a strong global club presence.
• Burna Boy: Often hailed as the “African Giant,” he leans into a more rootsy, socially conscious, and Afrofusion sound, blending African rhythms with dancehall, reggae, and hip-hop. His 2020 album Twice as Tall won the Grammy for Best Global Music Album.
• Wizkid: The “King of Sounds,” whose smooth, romantic, and R&B-infused Afrobeats broke massive global barriers with collaborations like “One Dance” (with Drake) and his album Made in Lagos. He won the Grammy for Best Global Music Album in 2022 for Made in Lagos (Deluxe).

Ayra Starr and Omah Lay represent the vanguard of the next generation, with Starr’s “Rush” and Omah Lay’s “Soso” being global hits, but they are not traditionally included in the “Big 3” due to the latter’s longer-established, decade-spanning careers and international touring prowess.

Analysis: Deconstructing the “Balance” Argument and Its Implications

Is There a “Balance” to Be Had? The Grammy Record

VDM’s core thesis rests on a perceived imbalance. Let’s examine the Grammy records of the “Big 3” prior to the 2026 ceremony (the most recent verifiable data):

• Burna Boy: 1 Win (Best Global Music Album, 2021). Multiple nominations in Global Music categories and the new African category.
• Wizkid: 1 Win (Best Global Music Album, 2022). Multiple nominations, including in the African category.
• Davido: 0 Wins. He has been nominated multiple times (including for “Fall” in 2019 in a pre-category change field, and in the new African category), but has not yet secured a Grammy trophy.

From a purely statistical standpoint, VDM is correct: Davido is the only one of the three without a Grammy win. However, the argument for “balance” becomes nuanced when considering:

1. Category Relevance: Burna Boy and Wizkid’s wins were in the Best Global Music Album category, which is an album award. The Best African Music Performance is a single/track award. A Davido win here would not be a direct 1-for-1 replacement but would give him a Grammy in the category most specifically relevant to contemporary African pop music.
2. Career Timeline: Wizkid’s and Burna Boy’s Grammy wins came after years of building an international profile. Davido’s international breakthrough, while massive, peaked slightly later. The Academy’s recognition often lags behind commercial success.
3. The “Firsts” Problem: The first winner in any new category often sets a precedent. Tyla winning the first two (2024 & 2025) could be seen as the Academy favoring a specific sound (Amapiano/Afro-pop) or artist from a specific region (South Africa) in the category’s formative years. VDM’s call for Davido is, in part, a call for geographical and stylistic diversity within the category’s winners.

The South Africa vs. Nigeria (Naija) Narrative

VDM’s commentary, while framed around “balance” among Nigerian artists, inevitably taps into the long-standing, good-natured (and sometimes heated) friendly rivalry between Nigeria and South Africa in music and culture. Tyla’s back-to-back wins (in this hypothetical) would extend South Africa’s dominance in the first years of the category. A Davido win in 2026 would be seen by many Nigerian fans as “reclaiming” the award for the country that produces the highest volume of Afrobeats exports. VDM, as a prominent Nigerian voice, is channeling this national pride, even if his stated reason is intra-Nigerian (“Big 3”) balance.

The Role of the Influencer: VeryDarkMan as a Cultural Barometer

VeryDarkMan is not a music critic by trade but a social and political commentator with a massive following. His opinion matters because:

• Amplification: He takes a niche awards show outcome and translates it into a digestible, debatable narrative for millions.
• Fan Engagement: He validates the feelings of a large segment of Davido’s fanbase (“the 30BG”) who feel their artist is overdue.
• Agenda-Setting: By focusing on “balance,” he shifts the conversation from “Who deserved it more?” to “What does the Academy’s pattern say about recognition?” This is a more sophisticated discussion.

However, his position also carries risks. As an influencer, his take can oversimplify complex artistic merit into a tally of wins. The legal or ethical implication is minimal here, as his comments are clearly subjective opinion, not defamatory statements about Tyla’s talent or win.

Practical Advice: What This Means for Artists, Fans, and the Industry

For Nigerian Artists (Davido, Burna Boy, Wizkid, et al.)

1. Strategic Submission: The Recording Academy has specific rules for submissions. Artists and labels must ensure their most Grammy-viable tracks—those that best fit the category’s “local melodic or harmonic traditions” criteria—are entered. A song like Davido’s “Unavailable” or “Feel” might be more aligned with the Academy’s historic taste in this category than a purely street-party record.

2. Campaigning is Key: The Grammy is not a purely popular vote. It requires active campaigning: sending physical copies to voters, hosting listening sessions, securing features in international media, and leveraging the artist’s own platforms to highlight the song’s cultural significance and technical craft.

3. Collaborate Strategically: A collaboration with a recognized international name (as Tyla did with “Water”) can boost visibility and credibility with Academy voters. A Davido feature on a track with a global star could be a strategic move for future submissions.

For Fans and the Audience

1. Understand the Category: Recognize that Best African Music Performance is for a single track, not an album. Judge nominations and wins on the song’s production, songwriting, and cultural impact within the African context, not just global streaming numbers.

2. Engage Constructively: VDM’s commentary shows how fan discourse can shape narratives. Channel that energy into supporting your favorite artist’s music, organizing voting campaigns (where allowed), and promoting their work to non-African audiences to build a broader base of appreciation.

3. Avoid “Zero-Sum” Thinking: One artist’s win does not erase another’s. Tyla’s success is a win for African music as a whole. Celebrate all African artists who get the nomination, as each presence elevates the continent’s profile.

For the African Music Industry

1. Education on Grammy Processes: Industry bodies (like the Nigerian Copyright Commission, record labels, and managers) need to invest in educating artists on how the Recording Academy works, the importance of the Grammy nomination process, and the specifics of each category.

2. Curate for the Category: There is a debate about whether the “Best African Music Performance” category favors certain genres (like Amapiano or slower, melodic Afrobeats) over others (like high-energy street-hop). The industry should study past winners and nominees to understand the subtle trends in voter preference.

3. Unity in Diversity: The discourse should not be Nigeria vs. South Africa vs. the rest. The goal is to have a rotating representative of the continent’s vast musical tapestry. A win from West Africa (Nigeria, Ghana), Southern Africa (South Africa, Angola), East Africa (Nigeria, Tanzania), or North Africa (Egypt, Algeria) all serve this purpose.

FAQ: Common Questions About the Grammys and Afrobeats

Has Davido ever been nominated for a Grammy?

Yes. Davido has received multiple Grammy nominations. His song “Fall” was nominated for Best Global Music Performance in 2019 (pre-category restructuring). He has also been nominated in the Best African Music Performance category since its inception.

Why is the “Best African