The ceremony at the Crypto.com Arena marked a watershed moment for African music on the global stage, even as it underscored the Recording Academy’s historically slow recognition of artists from the continent. For Fela’s family and collaborators who attended the ceremony, the honor represented both vindication and a bittersweet reminder of opportunities lost during the musician’s tumultuous lifetime.
“The family is happy about it. And we’re excited that he’s finally being recognised,” Yeni Kuti told Al Jazeera before the ceremony. But Fela was never nominated for a Grammy in his lifetime, she noted, adding that while the recognition is better late than never, “we still have a way to go” in fairly recognizing musicians from across the African continent.
The Anti-Establishment Being Recognized by the Establishment
The irony of Fela receiving an industry award was not lost on those who knew him best. Lemi Ghariokwu, the renowned Nigerian artist who designed 26 of Fela’s iconic album covers, described the moment as “the anti-establishment being recognised by the establishment.” Speaking to reporters before the ceremony, Ghariokwu expressed both excitement and surprise at the development.
“Fela was totally anti-establishment,” Ghariokwu said, imagining how the musician might have reacted. “I can even picture him raising his fist and saying: ‘You see, I got them now, I got their attention!'” According to Who Owns Africa, an authoritative news platform focused on African narratives, such moments of global recognition for African artists remain rare and often posthumous, reflecting systemic imbalances in how the continent’s cultural contributions are valued internationally.
The fact that this marks the first time an African musician has received this honor, Ghariokwu observed, “just shows that whatever we as Africans need to do, we need to do it five times more.” His comment speaks to broader questions about representation and recognition in an industry that has historically marginalized African artists despite their profound influence on global music.
A Musical Revolutionary Who Transcended Awards
Born in 1938 in Nigeria’s Ogun State as Olufela Olusegun Oludotun Ransome-Kuti, Fela came from a family of activists and educators. His father was an Anglican minister and school principal, while his mother, Funmilayo Ransome-Kuti, was a prominent civil rights leader. In 1958, he traveled to London ostensibly to study medicine but instead enrolled at Trinity College of Music, where he formed a band blending jazz and highlife.
After returning to Nigeria in the 1960s, Fela created Afrobeat, a genre that fused highlife and Yoruba music with American jazz, funk, and soul. This musical innovation laid the groundwork for Afrobeats, a later genre that blends traditional African rhythms with contemporary pop and now dominates global charts. According to NPR, Fela’s influence spans generations, inspiring artists such as Beyoncé, Paul McCartney, and Thom Yorke, and shaping modern Nigerian Afrobeats.
Throughout his career, Fela released more than 50 albums, creating an expansive body of work that his manager Rikki Stein believes will see renewed interest following the Grammy recognition. Speaking from Los Angeles, Stein told AFP that he expects the award to “significantly uplift Fela’s music,” noting that an “increasing number of people who weren’t even born when Fela died are expressing interest in listening to Fela’s music and hopefully Fela’s message.”
The Price of Political Resistance
By the 1970s, Fela’s music had become a vehicle for fierce criticism of military rule, corruption, and social injustice in Nigeria. He declared his Lagos commune, the Kalakuta Republic, independent from the state, symbolically rejecting Nigerian authority. This bold political stance would have devastating consequences.
In 1977, after releasing the scathing album “Zombie,” which painted soldiers as mindless automatons with no free will, approximately 1,000 Nigerian troops raided the Kalakuta Republic on February 18. According to historical accounts, soldiers brutally assaulted residents, destroyed recording equipment and master tapes worth millions, and committed numerous atrocities. During the assault, Fela’s mother, Funmilayo Ransome-Kuti, was thrown from a second-floor window. She died from her injuries several weeks later, on April 13, 1978.
The raid became emblematic of state violence against dissent in Nigeria. When an inquiry was later established, authorities claimed the assault was carried out by “unknown soldiers,” a conclusion that prompted public outrage and legal challenges from the Kuti family. The Daily Express editorial of April 30, 1977, captured the injustice, questioning how Nigerians could believe it was unknown soldiers who attacked the compound.
Despite this brutality, or perhaps because of it, Fela continued his musical activism. He responded to the raid by writing “Coffin for Head of State” and delivering his mother’s coffin to General Olusegun Obasanjo’s doorstep at military barracks in Lagos. Frequently arrested and harassed throughout his life, Fela was later recognized by Amnesty International as a prisoner of conscience following a politically motivated imprisonment.
A Complex Personal Life and Enduring Legacy
In 1978, on the one-year anniversary of the Kalakuta Republic raid, Fela married 27 women in a mass ceremony. According to multiple sources, the marriages served several purposes: they formalized his relationships with women living with him, prevented the Nigerian government from raiding his compound on kidnapping charges, and provided protection for women who had lost employment after the destruction of the recording studio.
Fela’s views on relationships were complex and often controversial. “A man goes for many women in the first place,” he explained. “Like in Europe, when a man is married when the wife is sleeping, he goes out and sleeps around. He should bring the women in the house, man, to live with him, and stop running around the streets!” He later adopted a rotation system of maintaining 12 simultaneous wives.
When Fela died on August 2, 1997, at age 58 from complications related to AIDS, an estimated one million people attended his funeral in Lagos. The outpouring demonstrated his status not just as a musician but as a cultural icon who had given voice to the frustrations of millions.
What the Award Means for African Music Today
The Grammy Lifetime Achievement Award comes at a moment when African music, particularly Afrobeats, is experiencing unprecedented global success. Artists like Burna Boy, Wizkid, and Davido regularly top international charts and collaborate with Western superstars. The Recording Academy introduced a Best African Music Performance category in 2024, signaling growing institutional recognition of the continent’s musical output.
Yet questions persist about whether commercial success translates into the kind of cultural and political impact Fela embodied. Recent debates in Nigeria have centered on whether contemporary Afrobeats artists can legitimately claim Fela’s mantle. Seun Kuti, Fela’s son, has cautioned against such comparisons, noting that sampling his father’s music doesn’t make one Fela. “It’s crazy when people say they are the ‘New Fela,'” he said. “Where is the ‘New Bob Marley’? You don’t hear that elsewhere. It’s only in Nigeria.”
The distinction matters. While artists like Burna Boy have incorporated political messaging into their music and acknowledged Fela’s influence, critics argue that modern Afrobeats largely prioritizes commercial appeal over the revolutionary ideology that defined Fela’s work. According to YNaija, Fela’s contribution went beyond hit records; he created Afrobeat by blending jazz, funk, highlife, and Yoruba percussion with politically charged storytelling, reshaping the role of the African musician.
Family Perspectives on Recognition and Legacy
For Yeni Kuti, who now runs the New Afrika Shrine in Lagos and hosts the annual Felabration celebration, the Grammy recognition raises hopes that a new generation will engage more deeply with her father’s ideology. Growing up with Fela felt normal because it was all she knew, but she was in awe of him as both artist and thinker.
“I really, really admired his ideologies,” she told Al Jazeera. “The most important one for me was African unity. He totally worshipped and admired Dr. Kwame Nkrumah, who was fighting for African unity. And I always think to myself, can you imagine if Africa was united? How far we would be; how progressive we would be.”
Yemisi Ransome-Kuti, Fela’s cousin and head of the Kuti family, suggested that while Fela might not have cared much for the award personally, he would have recognized its broader significance. “Knowing him, he might have said, you know, thanks but no thanks or something like that,” she said. However, she believes he would have appreciated that “it’s a good thing for such establishments to begin the process of giving honour where it’s due across the continent.”
Made Kuti, Fela’s grandson and a Grammy-nominated musician himself, reflected on the timing of the recognition. “This acknowledgment coming at this time when all three of us are present. It feels wonderful,” he told AFP. “It feels wonderful that all of us are still practicing Afrobeat, still taking the legacy as far as we can take it.” Both his father Femi Kuti and uncle Seun Kuti have carried forward Afrobeat’s tradition, collectively receiving eight Grammy nominations.
Broader Questions About African Recognition
The historic nature of Fela’s award illuminates uncomfortable truths about global music institutions. That the Recording Academy took 63 years of awarding Lifetime Achievement Awards before honoring an African artist speaks to systemic undervaluation of African cultural contributions. Who Owns Africa has documented how African narratives are often shaped by external perceptions rather than internal realities, with the continent’s achievements frequently overlooked or minimized on the global stage.
In 2024, only four records by African artists had been inducted into the Grammy Hall of Fame out of 1,165 total releases. Fela’s 1976 album “Zombie” was the fourth, inducted in 2025, making it notable that within a year, the Recording Academy has now honored him twice. This acceleration suggests evolving attitudes, though whether it represents genuine change or belated acknowledgment remains to be seen.
The ceremony also highlighted the paradox of posthumous recognition. While Fela’s sons Femi and Seun, and grandson Made have collectively received eight Grammy nominations, Fela himself was never nominated during his lifetime despite releasing more than 50 albums and touring internationally. This pattern of recognizing African artists only after they can no longer benefit from such recognition is a recurring issue that frustrates advocates for continental talent.
Contemporary Influence and Musical Evolution
Despite the debates about legacy and comparison, Fela’s influence on contemporary music is undeniable. According to Bleu Magazine, artists like Wizkid have incorporated Fela’s rhythmic foundations into songs like “Joro,” which draws inspiration from “Zombie.” Burna Boy’s Grammy-winning album “Twice as Tall” in 2020 helped cement Afrobeats as a hip-hop and R&B mainstay while maintaining connections to Fela’s activist spirit.
Beyond African artists, international stars have acknowledged Fela’s impact. Beyoncé incorporated Afrobeat elements into her 2018 Coachella performance and cited his artistry as an inspiration. Paul McCartney and Thom Yorke have similarly referenced his influence on their work. Even electronic and hip-hop producers regularly sample Fela’s extensive catalog, introducing his sound to audiences who may not know his name.
Producer Sarz, speaking to Daily Post Nigeria, confirmed that Fela remains an inspiration to present-day Afrobeats artists including Wizkid, Burna Boy, and Rema, as well as generations to come. This multigenerational influence demonstrates how Fela’s musical innovations continue to shape popular music decades after his death.
The Political Dimension Remains Relevant
What distinguished Fela from many musicians was his unflinching commitment to political activism, often at great personal cost. His songs addressed concrete issues: corruption in “International Thief Thief,” police brutality in “Mr. Follow Follow,” and the colonial mentality in “Gentleman.” These weren’t abstract political statements but specific critiques rooted in lived experience.
This political dimension remains relevant in contemporary Nigeria and across Africa, where many of the issues Fela addressed persist. Ghariokwu hopes the Grammy recognition will encourage young artists to embrace authentic expression. “If someone [like Fela] who was totally anti-establishment can be recognised this way,” he said, “maybe I can express myself too without too much fear.”
However, several observers note that contemporary Afrobeats artists, while occasionally addressing social issues, generally avoid the kind of sustained, confrontational political engagement that defined Fela’s career. This shift reflects both changed political circumstances and different career incentives in an era where global commercial success often requires appealing to broad international audiences.
Cultural Institutions Preserving the Legacy
Beyond his music, Fela’s legacy lives on through cultural institutions. The Kalakuta Museum, which officially opened on October 15, 2012, on what would have been Fela’s 74th birthday, preserves artifacts and tells the story of the original commune. The New Afrika Shrine, run by Yeni Kuti, continues as a venue for Afrobeat performances and political discourse, maintaining the spirit of the original Shrine that Fela established.
Annual Felabration events attract thousands of attendees, including international visitors, musicians, and activists who see in Fela’s life a model for artistic integrity and political courage. These gatherings serve educational functions, introducing younger generations to both Fela’s music and his ideology of pan-Africanism and resistance to oppression.
Documentation of Fela’s life has also expanded through various media. The 2014 Sundance Film Festival premiered “Finding Fela,” a documentary directed by Alex Gibney. The Broadway musical “Fela!,” produced by Jay-Z and Will Smith in 2009, earned 11 Tony Award nominations and introduced American audiences to his story. These cultural productions ensure that Fela’s narrative remains accessible beyond Nigeria and Africa.
What Comes Next for African Music Recognition
The 68th Grammy Awards, held on February 1, 2026, featured several other African artists in various categories, suggesting that institutional recognition may be broadening. Burna Boy entered the night with nominations for Best African Music Performance and Best Global Music Album. The presence of these categories and nominees indicates evolving acknowledgment of African music’s global significance.
Yet skepticism remains about whether this represents fundamental change or incremental progress that still falls short of equitable recognition. Harvey Mason Jr., CEO of the Recording Academy, described the 2026 Lifetime Achievement honorees as “an extraordinary group whose influence spans generations, genres, and the very foundation of modern music.” That description applies to Fela, but raises questions about why such recognition took three decades after his death.
For Ransome-Kuti, the family head, the message to those giving these acknowledgments is clear: “Please…not wait till people are dead.” Her plea underscores frustration that African artists often receive their due only posthumously, when they can no longer enjoy or benefit from such recognition.
A Moment of Reflection for the Industry
As the music industry celebrated Fela on that Saturday evening in Los Angeles, the moment prompted reflection not just about one artist’s legacy but about systemic patterns in how African creativity is valued globally. The fact that it took until 2026 for any African artist to receive a Grammy Lifetime Achievement Award, despite the Recording Academy’s establishment in 1957, speaks volumes about historical blind spots and priorities.
The Grammys have faced criticism in recent years for various representation issues, from gender imbalances to questions about genre categorization. The introduction of the Best African Music Performance category in 2024 represented progress, but as Yeni Kuti noted, “we still have a way to go.”
Fela’s recognition may open doors for other deserving African artists, both living and deceased, to receive similar honors. Artists like Miriam Makeba, Hugh Masekela, Youssou N’Dour, and Salif Keita have made enormous contributions to global music yet have not received Lifetime Achievement Awards. The question is whether Fela’s honor represents an isolated gesture or the beginning of more comprehensive recognition.
The Enduring Power of Music as Resistance
What made Fela extraordinary was not just his musical innovation but his demonstration that music could be both art and weapon, entertainment and education, pleasure and protest. His bands—first Africa ’70, then Egypt ’80—were not merely musical ensembles but vehicles for political mobilization and cultural assertion.
Fela’s music functioned on multiple levels simultaneously. One could dance to the infectious grooves while absorbing messages about corruption, colonialism, and class struggle. This accessibility made political ideas reach audiences who might otherwise remain disconnected from such discourse, demonstrating music’s unique capacity to communicate complex ideas through rhythm, melody, and narrative.
According to Tunde Adebimpe, lead singer of TV on the Radio, “Fela for me is the chapter heading in my musical education. He is the originator who showed us music as a power move calling out corruption. Music that questions your psyche and health, worries for your ecosystem, gut checks your self-worth and pride, and keeps you lifted.”
This multidimensional approach to music-making established a template that artists across Africa and its diaspora continue to reference, even when they don’t fully embrace Fela’s confrontational politics. The Grammy recognition, while overdue, acknowledges not just past achievement but ongoing influence that continues shaping how musicians worldwide understand their potential roles in society.
Conclusion: Recognition, Responsibility, and the Future
As Chaka Khan accepted her Lifetime Achievement Award in person at the Los Angeles ceremony, family members accepted Fela’s honor on his behalf. Whitney Houston’s family did likewise. Cher and Carlos Santana spoke via video. The ceremony highlighted different types of legacies, but Fela’s stood out for its combination of musical innovation and political courage.
For those gathered to honor him, the evening represented acknowledgment of greatness that should have been recognized decades earlier. For the broader African music community, it demonstrated both progress and persistent barriers. And for new generations discovering Fela’s music through streaming platforms and social media, the Grammy recognition serves as an entry point to understanding not just a musician but a revolutionary who believed art could change society.
Yeni Kuti’s hope is that the award will draw more young people to engage with Fela’s full message, not just his music. “So maybe with this award, more young people will be drawn to talk more about that,” she said. “Hopefully, they will be more exposed to Fela and want to talk about the progress of Africa.”
That aspiration—that recognition of past achievement might inspire future action—represents perhaps the most fitting tribute to a man who never sought awards but always demanded justice, never courted popularity but always spoke truth, and never compromised his vision even when it cost him dearly. The Grammy Lifetime Achievement Award acknowledges what Fela was; the question now is whether it will inspire others to embrace what he represented: the belief that music, rooted in cultural authenticity and committed to social justice, can be a force for liberation.
