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10 Takeaways From Grammys 2021

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5 years ago

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The 2021 Grammys somehow survived a COVID-inspired six-week delay, not to mention angry diatribes from the Weekend, and put together a seamless, entertaining, music-packed telecast that also proved utterly, bafflingly infuriating. How can all that be true? Read on!

 

 

1. The broadcast itself was a triumph. Give huge amounts of credit to executive producer Ben Winston, making his Grammys debut: His telecast moved breezily across multiple stages, cut past years’ fat and much of the filler, highlighted a huge and diverse array of music and allowed the performers to be showcased at their best. A typical Grammys telecast has terrific highs and embarrassing lows, but Sunday night’s performances were too proficiently and elegantly produced to allow for train wrecks. After a jumbled, clunky, zoom-intensive Golden Globes telecast just a few weeks earlier, Winston showed the world how it’s done.

 

 

2. The awards themselves? Hoo boy. You could see it coming, yet it still felt shocking: The Grammys took a moment, upon handing Beyoncé the 28th Grammy of her world-class career, to acknowledge that she’d just surpassed Alison Krauss for the most Grammys ever awarded to a female artist.  Unacknowledged in that moment was that Beyoncé has a long history of getting passed over for the major awards of the night; she has never won record of the year or album of the year, and she won song of the year only once, in 2010, for “Single Ladies (Put a Ring on It).” Scan a list of the Grammys that Beyonce has won, and note the number of times the modifier “R&B” appears.

 

 

So, when the time came to award the night’s final prize, it had to be Megan Thee Stallion and Beyoncé’s “Savage,” right? Megan had already won best new artist; “Savage” had already won best rap performance and best rap song; Beyoncé’s “Black Parade” had already won best R&B performance, and her “Brown Skin Girl” had already won best music video (which means that Beyoncé’s 9-year-old daughter, Blue Ivy Carter, now has her first Grammy). Billie Eilish, for her part, had won only best song written for visual media, for “No Time to Die.” But record of the year went to Eilish, who spent much of her speech apologizing to Megan Thee Stallion for winning.

With no disrespect intended toward Eilish, who handled the situation well, that’s the Grammys for you: They make progress; they make adjustments; they get your hopes up; they pull the football away at the last minute.

 

 

 

 

3. The call for boycotts will get louder. In the runup to this year’s Grammys, The Weeknd announced that he’d never submit his music for Grammys consideration again after the Recording Academy failed to so much as nominate him for his blockbuster album After Hours. Beyoncé attended but didn’t perform, and she seemed to expend as little energy as possible on the whole affair. The Grammys have a long history of snubbing Black artists at inopportune moments — see, for a notorious example, Macklemore and Ryan Lewis beating Kendrick Lamar in the awards’ 2014 hip-hop categories — and patience is wearing thin.

 

 

4. It was a mixed bag for the big winners. Many observers expected the night to be yet another coronation for Taylor Swift, whose album Folklore earned her six Grammy nominations and some of her best reviews. But Swift went 0 for 5 to start, only to take album of the year near the end of the telecast. Eilish, who famously dominated last year’s awards, hadn’t made much of a splash during the rest of the evening. In both cases, the big wins sneaked up on them.

 

 

5. There was better news in the down-ballot races. While it was a shame to see Phoebe Bridgers go 0 for 4, Megan Thee Stallion was the clear and correct pick for best new artist (though it was kind of a head-scratcher when she wasn’t nominated in that category last year). Fiona Apple, inexplicably shut out of nominations in the major categories, won best rock performance (for “Shameika”) and best alternative music album (for Fetch the Bolt Cutters). H.E.R. took song of the year for “I Can’t Breathe,” a resonant and powerful track. Kaytranada became the first Black musician to win best dance/electronic album in the category’s 17-year history — an outrageous milestone, given the genre’s origins, but a milestone nonetheless.

 

 

6. Get ready for a tiresome new front in the culture wars! Last year, Cardi B and Megan Thee Stallion released one of the filthiest songs ever to top the Billboard Hot 100, and “WAP” made its Grammys debut in grandly transgressive, explosively entertaining fashion. Rest assured that “cancel culture” and Dr. Seuss and Mr. Potato Head are gonna have to make room on some conservative fainting couches, possibly by the time you read this.

 

 

7. Somehow, against all odds, none of the performances truly stank. This particular kind of showcase — with careful stage management, good sound mixes, a blend of live and pre-taped moments, many stages to accommodate set changes and so on — allowed artists to do their best work. This was the 3 1/2-hour music-industry infomercial the Grammys craved, and the beneficiaries included both the musicians themselves and a home audience that has been starving for live music.

 

 

8. The Grammys didn’t forget struggling venues. Without turning into a telethon or slowing down the broadcast, the show did a nice job spotlighting a few of the many music venues whose long-term survival has been threatened by the coronavirus pandemic. It was refreshing to see the Recording Academy understand that its industry’s success hinges on not only streaming and sales but also the return of live music and the venues that make it possible.

 

 

9. Trevor Noah deserves more praise than you might think. The Daily Show host maintained a fairly low-key presence throughout the night — he didn’t preside over any skits, and his monologue was limited to a few quick jokes — but he did a deft job moving the home audience through a complicated hunk of awards-show machinery. Awards-show hosting gigs are generally thankless, and he made a hard job look easy.

 

 

10. Finally, it can’t be reiterated enough: The Grammys still have a lot of work to do. It’s not a matter of saying, “If Beyoncé or Kendrick Lamar put out a great record in 2021, it has to win album of the year.” It’s that the Grammys are not trusted, period, by wide swaths of their audience and membership, and any effort to correct that needs to start there. They have to create trust.

That trust can come only through transparency about their process, their membership and their efforts to better reflect their industry and its massive worldwide audience. The Grammys’ typical response to controversies tends to involve artist-specific attempts to redress previous years’ grievances; that’s part of how Metallica wound up winning eight Grammys across six different years after infamously losing best metal performance to Jethro Tull in 1989.

The issue isn’t that Beyoncé should have won album of the year in 2015 over Beck’s Morning Phase or that Lemonade should have won album of the year in 2017 over Adele’s 25, though both of those outcomes were — with no shade thrown at either winner — hard to stomach. The issue is that it’s getting harder for the Grammys to keep on like this without facing a large-scale revolt from the artists whose buy-in they need in order to retain a semblance of relevance.

In other words, they need to step up.

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Sahara weekly online is published by First Sahara weekly international. contact [email protected]

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Top Music Producer, Gbenga Leo Marks 45 Years in Music with Lagos Celebration

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2 weeks ago

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April 10, 2026

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Top Music Producer, Gbenga Leo Marks 45 Years in Music with Lagos Celebration

By Alhaji Arems (Baba Fuji)

 

Otunba Gbenga, popularly known as Leo Taiwo, will be celebrated for his 45-year journey in the music industry at a special event scheduled for Tuesday, May 5, 2026, in Lagos.

 

The event, set to hold at the Radio Lagos Marquee Hall in Agidingbi, Ikeja, is expected to bring together friends, family, and associates to honour a career defined by longevity and consistent contribution to Nigeria’s Fuji music scene.

 

Though not widely in the public spotlight, Leo Taiwo is regarded within industry circles as a respected figure whose work has spanned decades. His role as a music producer and collaborator has positioned him among the quiet contributors who have supported the growth and continuity of Fuji music over the years.

 

The celebration is slated to begin at 2 p.m., with guests expected to observe a white dress code. Attendance will be by access card, with caps and gele serving as entry identifiers.

 

Fuji star King Sule Alao Malaika is billed to lead the music for the occasion, while popular hosts Ifankaleluyah and Tokunbo Marvins will anchor proceedings.

 

The choice of venue underscores the cultural relevance of the event. Radio Lagos has long been associated with the promotion of indigenous music, making it a fitting location for a milestone rooted in tradition and legacy.

 

Reaching 45 years in any creative industry is a notable achievement. In a genre that has evolved across generations, such longevity reflects both resilience and sustained relevance.

 

As preparations continue, the event is shaping up to be not just a celebration of one man’s journey, but also a moment to acknowledge the enduring community behind Fuji music.

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BREAKING NEWS: Amb. Chelsea RC Nwodo Crowned NAGA Nollywood FACE OF AFRICA 2026 – A Triumph of Talent, Leadership, and Philanthropy

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2 weeks ago

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April 8, 2026

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*BREAKING NEWS

*Amb. Chelsea RC Nwodo Crowned NAGA Nollywood FACE OF AFRICA 2026 – A Triumph of Talent, Leadership, and Philanthropy*

Lagos, Nigeria – In a stunning display of talent, leadership, and philanthropy, Amb. Chelsea RC Nwodo has been crowned winner of the prestigious NAGA Nollywood FACE OF AFRICA 2026 award. This remarkable achievement cements her status as a powerhouse in the Nigerian entertainment industry.

 

Amb. Chelsea Nwodo, the newly crowned NAGA Nollywood FACE OF AFRICA 2026, has extended her heartfelt gratitude to all who supported her in this remarkable achievement.

 

“I am overwhelmed with joy and gratitude to announce that I have been crowned the winner of the prestigious NAGA Nollywood FACE OF AFRICA 2026 award,” Amb. Nwodo said. “I want to express my sincere appreciation to everyone who voted for me, including my loving family members and TOSA to NAGA , I am honored to be part of this prestigious award and I appreciate the recognition.”

 

Amb. Nwodo, a multifaceted personality, has proven herself as an acclaimed actress, dedicated philanthropist, and visionary business leader. Her exceptional leadership and commitment to advancing Nollywood has earned her the respect and admiration of her peers.

 

As CEO of the Chelsea Nwodo Foundation, she drives transformative initiatives empowering women and children, fostering growth and opportunity. Her leadership skills extends to Chy-kas Travels and Tour, showcasing her entrepreneurial acumen.

 

Recently appointed Chief of Staff to the National President of the Actors Guild of Nigeria (AGN), Abubakar Yakubu, Amb. Nwodo’s exceptional leadership and commitment to advancing Nollywood is undeniable.

 

Amb. Nwodo’s philanthropy resonates deeply. Her impactful “Operation Feed 5000 Street Children” program, in partnership with Regal Connect Foundation-Ghana, delivered food, shelter, and skills training to vulnerable children in Ghana, attracting high-profile support.

 

Her NAGA Nollywood FACE OF AFRICA 2026 win celebrates not just her achievements but her dedication to uplifting others, making her a beacon of hope across industries. This recognition solidifies her position as a role model and influencer, inspiring a new generation of artists and entrepreneurs.

 

The NAGA Nollywood FACE OF AFRICA award is a testament to Amb. Nwodo’s hard work, talent, and commitment to excellence. Her win is a proud moment for Nigeria and the African continent, showcasing the best of Nollywood’s talent and philanthropy.

 

BREAKING NEWS *Amb. Chelsea RC Nwodo Crowned NAGA Nollywood FACE OF AFRICA 2026 – A Triumph of Talent, Leadership, and Philanthropy*

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Faaji Unlimited : Omo-Opeki Announces ‘Step Up,’ ‘Multi Talented,’ And ‘God’s Mercy’ — A Historic 3-in-1 Fuji Album Set For April 8 Release 

Published

3 weeks ago

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April 5, 2026

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 Faaji Unlimited : Omo-Opeki Announces ‘Step Up,’ ‘Multi Talented,’ And ‘God’s Mercy’ — A Historic 3-in-1 Fuji Album Set For April 8 Release

By Alhaji Arems (Baba Fuji) 

Alhaja Queen Isimot Abake Abiola, widely known as Omo-Opeki, is stepping into a defining moment in her career with the official announcement of her ambitious 3-in-1 Fuji album. Titled Step Up, Multi Talented, and God’s Mercy, the project is scheduled for release on April 8 — a date that also marks her birthday.

 

More than a strategic rollout, the timing signals intention. It frames the project as both a personal milestone and a cultural statement, positioning the veteran Fuji act at the center of a conversation that extends beyond music.

 

A Three-Part Statement of Growth, Identity, and Gratitude :
By unveiling the titles of the three albums, Omo-Opeki transforms what was once a bold concept into a fully realized artistic vision.

Each title carries its own thematic weight:
• Step Up suggests progression — a conscious elevation into a new phase of artistry and influence

• Multi Talented highlights range, reinforcing her versatility within a genre that rewards depth and endurance.

• God’s Mercy reflects gratitude, pointing to the spiritual and personal journey that underpins her career.

 

Together, the albums form a layered narrative. Rather than a single body of work, the 3-in-1 structure allows for a broader exploration of identity, sound, and storytelling — a format that aligns naturally with Fuji’s tradition of extended compositions and expressive delivery.

 

April 8 : More Than A Release Date :
Choosing April 8 as the release date adds a deeper layer of symbolism to the project. Birthdays often represent renewal, reflection, and forward momentum — themes that mirror the essence of the album titles themselves.

 

For Omo-Opeki, the alignment of her birthday with such a significant release suggests more than coincidence. It positions the moment as a personal and professional convergence — one that celebrates longevity while signaling evolution.

 

In an industry where timing can shape perception, anchoring a major release to a date of personal significance strengthens the narrative around it. It becomes not just a drop, but a moment of declaration.

 

Rewriting the Narrative for Women in Fuji :

Fuji music, deeply rooted in Yoruba Islamic and Apala traditions, has long been shaped by male dominance in both performance and large-scale releases. While female artists have contributed significantly to its growth, landmark projects of this magnitude have rarely been associated with women.

 

Omo-Opeki’s 3-in-1 album challenges that precedent.

Executing a multi-volume release demands more than creative output. It requires strategic planning, financial commitment, audience loyalty, and the confidence to carry such weight within a traditional space. By taking on this scale, she is not only expanding her own catalog but also redefining what is possible for female Fuji musicians.

Leadership Beyond The Studio :
Beyond her work as a recording artist, Omo-Opeki serves as the President of the Elite Women Musician Association of Nigeria (EWMAN). Her role within the organization reflects a broader commitment to advocacy, mentorship, and structural support for women in the music industry.

This dual position — as both artist and leader — strengthens the significance of her upcoming release. It reinforces her credibility not just as a performer, but as a figure actively shaping opportunities for others.

 

Balancing creative output with industry leadership is no small feat. Yet, it adds weight to the moment, positioning the album as part of a larger narrative around representation and access.

 

A Strategic Moment For Fuji in a Global Era :
The announcement arrives at a time when Afrobeats continues to dominate global conversations, often overshadowing indigenous genres. In this context, bold releases within traditional spaces carry added importance.

 

A project of this scale does more than spotlight an individual artist — it draws attention back to the genre itself.

 

By delivering a 3-in-1 album with clear thematic direction and symbolic timing, Omo-Opeki is contributing to a renewed visibility for Fuji. It becomes a reminder that the genre remains dynamic, evolving, and capable of commanding attention on its own terms.

A Defining Chapter in Motion :
With Step Up, Multi Talented, and God’s Mercy, Omo-Opeki is not just releasing music — she is curating a moment that blends personal significance, artistic ambition, and cultural impact.

 

April 8 will mark more than a birthday. It will stand as a milestone in her journey and, potentially, a turning point in the narrative surrounding female artists in Fuji music.

 

As the date approaches, anticipation continues to build. But beyond expectation lies something more enduring — the sense that this release is not just about what is coming next, but about what it makes possible going forward.

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