Terry G Slams Billboard Over Omission From Top 50 Afrobeats Songs Of All Time

Renowned Nigerian singer and street-hop pioneer Terry G has publicly voiced his dismay after being left out of Billboard’s inaugural ranking of the Top 50 Greatest Afrobeats Songs of All Time. He described the omission bluntly on social media: “TERRY G robbed”.

Billboard ended the unveiling of the list on August 19, 2025, marking a milestone in acknowledging the genre’s evolution and global reach. The ranking was curated by staff and aimed to honor songs that defined Afrobeats through cultural impact, commercial success, and stylistic representation.

Terry G expressed frustration at being omitted, noting that classic hits like “Akpako Master,” “Free Madness,” and “Run Mad”, which he believes helped shape Nigeria’s street-hop and Afrobeats sound, were ignored. His single-word verdict, “robbed”, spoke volumes about his beliefs regarding his contributions to the genre.

Emerging in the late 2000s, Terry G’s uniquely eccentric style made him a trailblazer in the street-hop music scene. His fusion of high-energy performances, unconventional lyrics, and gritty visuals carved a niche that inspired many contemporary acts. While not always mainstream, his influence on street culture and experimental sound design is widely acknowledged by peers and fans alike.

The omission sparked a lively debate on social media with some supporters asserting that “Free Madness” and “Akpako Master” were pivotal hits that helped define a genre.

Why the Snub? Exploring Possible Reasons

• Selection Criteria: Billboard’s ranking leaned toward songs with cross-border appeal, sustained chart success, and global recognition traits Terry G’s hits may not have met.

• Representational Focus: The list leaned more toward foundational Afrobeats songs that achieved mainstream penetration, rather than cult classics tied to subgenres like street-hop.

• Generational Gaps: Terry G’s influence may be more deeply felt among those immersed in late-2000s Nigerian street music than among the global curators of Afrobeats.

Terry G’s reaction highlights an ongoing tension in genre recognition between mainstream success and cultural authenticity. It also reignites conversation about how music history is documented, who gets commemorated, and which stories risk being sidelined.

The apako master’s sense of exclusion isn’t just about personal validation, it speaks to broader debates around legacy, genre boundaries, and the mechanisms of recognition in music. While Billboard aimed to celebrate the Afrobeats genre’s biggest hits, Terry G’s exclusion raises valid questions about whose contributions are considered foundational—and who gets to decide.