Is Headies Getting Terrible Every Year? Our Thoughts on It

The Headies Awards has long been a staple in the Nigerian music scene. It is a prestigious event where the brightest talents come together to celebrate and recognize outstanding achievements in music. But as the awards have continued to evolve, so have the criticisms. Every year, it seems there’s a fresh wave of complaints, a new set of challenges, and many people questioning: Is The Headies getting terrible every year?

The question has gained momentum recently as the Headies navigates the delicate balance between tradition and the modern, fast-evolving music landscape. What was once a revered symbol of excellence is now being scrutinized, with many fans, artists, and critics alike wondering if it’s lost its shine. But is this perception grounded in reality, or is it a case of growing pains for an institution that has become so ingrained in the culture?

The Birth of Criticism: What Changed?

We must look at its history to understand whether the Headies is genuinely on a downward spiral. Founded in 2006 by Ayo Animashaun, CEO of HipTv, the Headies was created to celebrate Nigerian music and its global influence. The event was initially lauded for its recognition of diverse talent across multiple genres and its ability to bring together the industry’s top figures.

However, as the years have passed, criticisms have grown louder. Many of the complaints now stem from what some see as unfair nominations, lack of regional representation, and over-commercialization of the awards. What once appeared as an unbiased celebration of talent has evolved into a spectacle that some feel panders too much to commercial success. Fans and industry insiders have voiced their frustration over how the awards are structured and the growing sense that politics has started to overshadow merit.

One central point of contention has been the limited diversity in categories. As the Nigerian music industry becomes increasingly multifaceted, there’s a noticeable gap between the variety of talent emerging from all corners of the country and the awards’ limited focus on a handful of mainstream genres. Many feel that regional talent—be it from the North or East—is underrepresented, with more attention being given to artists based in Lagos and other southern cities.

The Curse of High Expectations

In the age of instant gratification, every aspect of an artist’s career is under constant scrutiny. This has also affected the Headies. As the industry grows, so do expectations. What was once an intimate gathering of music insiders has now become an event under the public microscope, broadcast live and dissected across social media platforms. Each decision made by the organizers is met with near-immediate backlash.

Nothing escapes the public’s eye from the choice of nominees to the winners. This isn’t helped by the perception of bias that has often tainted the awards. When an artist like Olamide doesn’t win the coveted Album of the Year despite a massive commercial success, or when Tems’ dominance in the international space isn’t adequately reflected in the nominations, or Llonas’ music is subbed in his category, fans are quickly pointing out the gaps. For all its prestige, the Headies has often been accused of playing favorites, neglecting deserving talent in favor of familiar faces and commercial juggernauts.

Past vs. Present: A Comparison of Editions

Looking at the earlier editions of the Headies, there’s a sense of nostalgia. The 2006 and 2010 editions, in particular, were hailed for their authenticity and dedication to celebrating true talent. Categories were more niche, focusing on individual genres like Best Rap Album or Best Female Artist, which allowed for a broader scope of recognition across the industry.

Fast forward to 2025, and it’s clear that things have shifted. The categories now include Best Afrobeat Album, Best Inspirational Single, Song of the Year, and Digital Artist of the Year, reflecting the growing influence of digital platforms and Afrobeat’s international rise. But with this shift, there’s been a narrowing focus on artists whose success is primarily driven by streaming numbers or chart-topping singles. The result? Some argue that the awards have lost touch with the grassroots sounds and lesser-known but equally deserving artists.

The inclusivity that was once celebrated in earlier years is dwindling. In 2010, Wizkid, 2Baba, and D’banj were the heavyweights, but their recognition came when the industry wasn’t as fragmented. There was still room for varied styles of music to coexist under the same roof. Fast-forward to 2025, and we’re seeing Afrobeats, trap, and pop dominate, often overshadowing other genres like Highlife, Folk, and Hip-Hop.

Public Perception: The Role of Social Media

Enter the digital age. Social media has instantaneously given fans and critics a platform to voice their opinions, which has become both a blessing and a curse for the Headies. With the rise of Twitter threads, Instagram posts, and YouTube breakdowns, public perception of the Headies is now shaped largely by online discourse. The constant debate about who should win, who got snubbed, and whether the event truly represents the diversity of Nigerian music culture has turned the Headies into a battleground of public opinion.

As much as this has democratized the conversation around the awards, it has also made the Headies vulnerable to public scrutiny. Every misstep, every perceived snub, and every controversial win gets amplified, leading to a cascading effect on the event’s reputation. The feedback loop has created a situation where, despite the organizers’ best efforts, the Headies can never seem to live up to the ever-growing expectations of a highly vocal audience.

Constructive Views: How Can Headies Improve?

Despite the criticisms, the Headies remain an essential institution in Nigerian music culture. But if the awards are to regain the respect and credibility they once had, restructuring seems inevitable.

1. Expand Categories: The rise of new genres and the increasing presence of regional music calls for a broader category inclusion. Introducing awards that focus on regional genres, cross-genre collaborations, and innovative digital marketing would ensure that the diversity of Nigerian music is reflected in the awards.

2. More Transparent Voting Systems: A major complaint is the lack of transparency around the voting process. If fans and industry professionals were given more insight into how nominations and winners are selected, it would alleviate some backlash regarding perceived bias or unfairness.

3. Focus on Talent Over Popularity: While The Headies must honour commercial success, a larger emphasis should be placed on artistic merit. Categories like Best Indie Artist or Best Emerging Talent could help highlight artists who aren’t necessarily topping the charts but are producing quality, innovative work.

4. Inclusive Representation: It’s time to listen to the cries for regional representation. Nigerian music culture is vast, and every region offers something unique. A more inclusive approach to nomination and recognition will ensure that talent from all parts of the country receives the recognition it deserves.

Conclusion: A Complex Legacy

So, are the Headies getting terrible every year? Perhaps not. But it faces a critical juncture. The Nigerian music industry is evolving faster than ever, and with it, so too must the Headies. The growing pains are evident, but with a fresh approach, an openness to change, and a willingness to listen to the public, the Headies could regain its place as a truly representative and respected institution.

For now, it’s safe to say that the Headies, like any significant entity, is subject to the demands and criticisms of the times. Whether it can overcome the challenges of an increasingly fragmented music scene and meet the high expectations of its audience remains to be seen. One thing is for sure: The Headies is not dead, but it’s evolving, and how it adapts will define its future.