Less than two weeks ago, artist Gaise Baba was in the news, including on Amplify Africa, following the release of his latest studio album, God Is Cooking. This week, he’s back in the conversation for music, but for something slightly different.

Following the release of The Headies’ nominees list, which features some of the breakout artists and songs of the year, Gaise Baba and his hit song, “No Turning Back II” featuring Lawrence Oyor, were notably absent from what would be considered the general field categories.

In a new open letter, Gaise Baba questioned the logic behind the categorisation of his music, arguing that “a rap record is a rap record. It doesn’t stop being a rap record because of what the artist chooses to rap about.”

Throughout God Is Cooking, Gaise Baba negotiates between the sonic worlds of different genres, directions and messages. Now, in the real world, he appears to be having to make that same negotiation against a music industry that seems determined to neatly categorise him as gospel and little else.

Image Courtesy Of The Artist

He likens this obsession with categorisation and limitation to the Grammys’ treatment of African artists, particularly through its African music categories, which have historically never been awarded during the live ceremony unlike the major general-field awards. He draws a similar comparison with The Headies’ Gospel category, where he was nominated last year, and despite according to his letter, took part in the media rounds for the category but the Inspirational category wasn’t called on to the stage for the audience to see.

Image Credit: @gaisebaba

But the bigger question raised by Gaise Baba is about how we define the records that matter.

If a song like “No Turning Back II,” with its commercial and cultural impact, doesn’t have a shot at the general-field categories, what exactly are the yardsticks for measuring the defining hits of the year?

In the final words of his open letter, Gaise Baba asks: how many records released during the current year under review have had a greater “cultural impact” across the length and breadth of the country—and even beyond—than “Favour” or “No Turning Back II”?

“Shall we count?”