Headies 17th Edition Nominations: Surprising Omissions and Misses
The Headies has officially revealed the nominations for its highly anticipated 17th edition, but it hasn’t come without a few unexpected snubs. Set against the backdrop of the eligibility period between April 1, 2023, and July 31, 2024, this year’s award nominations reflect a year packed with major Nigerian music releases. Many artists earned their well-deserved nods, but there were also some glaring omissions that sparked intense conversations within the industry.
As is typical of every major awards ceremony, the 17th Headies nominations have not been without controversy. While the quality of the nominated projects is undeniable, some notable misses are hard to ignore. These omissions, especially considering the profiles of the artists and the quality of their work, have left fans and industry insiders alike questioning the nomination process.
Headies 17th Edition Nominations: Surprising Omissions and Misses
Major Snubs and Surprises in Headies 17th Nominations
One of the most discussed exclusions is Asake’s “Lonely At The Top”, a standout track from his sophomore album “Work of Art”. With its exceptional composition, many had predicted this song to take a top spot, but it was left out. Similarly, OdumoduBlvck’s “Blood On The Dance Floor” – one of the most musically accomplished singles of the year – also failed to earn a nomination, leaving many puzzled.
Another significant omission was that of producer P.Priime, who had an impressive run in 2023, contributing to Rema’s successful album “HEIS”. Despite his success, P.Priime didn’t make it to the nomination list, which caught many by surprise.
Additionally, Jay Synths, the producer behind Flavour’s “Big Baller”, which earned two nominations including Song of the Year, was notably absent from the list. His involvement in KCee’s “Ojapiano”, one of the defining hits of 2023, further raised questions about the nomination process.
Blaise Beatz, the mind behind Kizz Daniel’s “Twe Twe”, a massive hit in 2024, was another name missing from the nominations despite the track’s success and unique exploration of Nigerian indigenous folk rhythms.
Also, KZITO’s instrumental contributions to Victony’s “Stubborn”, particularly the track “Pier 46”, left fans wondering why he wasn’t nominated, especially when musical accomplishment seemed to be a key criteria.
Rookie of the Year Category Misses
Many were also left disappointed by the omission of TML Vibez and Muyeez, two rising stars who made significant impacts in the Nigerian music scene with their respective debut EPs and contributions to the VIBE INZ compilation album. It was widely expected that at least one of them would have been shortlisted for the Rookie of the Year award, making their exclusion a notable surprise.
The Challenges Facing Headies 17th Edition
While the Headies nominations have sparked much debate, the ceremony’s recurring delays and execution issues add a layer of complexity. The lack of a definitive calendar year for the awards has led to eligibility windows that are often confusing, with impact and success sometimes becoming lost in the process.
Despite having two years to prepare for the 17th edition, the nomination announcement took a staggering 10 hours, leading to frustration among fans and artists. The delayed ceremony, combined with questionable nominations, has raised concerns about the overall execution of the award.
Notably, Omah Lay’s “Moving”, nominated for Best Male Vocal Performance, was released outside the eligibility period, and Phyno’s “Full Time Job”, which was released months after the eligibility window, faced backlash after initially being nominated for Best Rap Album and later removed.
Furthermore, while new categories were introduced, the removal of the Alternative/Traditional Song and Albums categories sparked concern within that community, as a whole segment of talented artists was excluded from the awards.
The Bottom Line: Headies Needs Improvement
As a key institution in the Nigerian music industry, the Headies Awards play an essential role in the recognition and growth of local talent. However, with so many inconsistencies and significant omissions, it is clear that the awards need to undergo serious re-evaluation. The organisers must address these issues to ensure the award is fair, transparent, and truly reflective of the musical landscape. Only then can the Headies live up to its potential and continue its important work in celebrating Nigerian music.
