Author: Stephen Ibrahim

Veteran Nollywood actor, filmmaker and Yoruba cinema icon Taiwo Hassan, popularly known as Ogogo, has died at the age of 66 after battling stage-four cancer.

The actor reportedly died on Sunday, August 23, 2026, while receiving treatment for the illness. A colleague confirmed the development to National Insight, expressing shock over the actor’s death. 

His death comes just days after his daughters, Lima and Kira Taiwo, publicly revealed that their father was battling stage-four cancer and appealed for urgent medical assistance.

The family had initially believed that the actor was dealing with an ulcer before his condition was eventually diagnosed as stage-four cancer. His daughters said his condition had deteriorated significantly and that the hospital treating him could no longer continue with chemotherapy.

They repeatedly stressed that they were not seeking financial donations, but were looking for medical specialists, hospitals and treatment options that could help save their father. 

The revelation prompted an outpouring of support from across the Nigerian entertainment industry. Veteran actors including Jide Kosoko, Yinka Quadri, Antar Laniyan, Bukky Wright, Wale Elesho, Yomi Fash-Lanso, Fausat Balogun and Mr Latin gathered in Lagos for a special prayer session for Ogogo’s recovery.

His daughter Kira also spoke emotionally about the family’s ordeal, revealing that some individuals had allegedly attempted to profit from her father’s illness by demanding large sums of money while claiming to have solutions to his condition. 

The actor’s reported death comes only five days after his family dismissed an earlier viral report claiming that he had died. On August 18, Lima Taiwo described that report as fake and urged the public to disregard it. 

Born on October 31, 1959, in Ilaro, Ogun State, Taiwo Hassan built a career spanning more than four decades and became one of the most recognisable faces of Yoruba Nollywood.

He began acting professionally in 1981 while still working outside the entertainment industry before eventually leaving his day job in 1994 to pursue acting full-time.

Over the years, Ogogo became particularly known for his commanding portrayals of warriors, chiefs, traditional rulers, fathers and other authoritative characters.

He appeared in numerous Yoruba and English-language productions, including Owo Blow, Omin, Elewon, Omo Ghetto, Aye O, Tenant of the House, Amerah, Bank Alert and Aníkúlápó.

His performance as Alaafin Ademuyiwa in Aníkúlápó earned him an AMVCA Best Supporting Actor nomination in 2023.

Beyond acting, Hassan also worked as a producer, director and screenwriter and was regarded as one of the important figures who helped shape the modern Yoruba film industry.

Taiwo Hassan “Ogogo” was 66.

Nigerian Afrobeats singer and Mavin Records artist Magixx has announced the passing of his mother, Esther, in an emotional tribute shared on X on Sunday, August 23, 2026.

The singer, born Alexander Adelabu, opened up about the depth of his grief, describing the loss as a pain unlike anything he has experienced before.

“I have never felt pain like this, Never been this lost. still processing that this is real, can’t believe this will happen to you Mom.”

Magixx revealed that he had watched his mother battle illness for several years, particularly over the last six years, while continuing to show remarkable strength and positivity.

“I watched you fight so hard for your family, friend and strangers, especially these last 6 years, with a smile on your face, full of life, even in sickness! the strength of your heart!” he wrote.

The singer went on to celebrate his mother’s personality, describing her as a free spirit who was witty, kind and fiercely protective of the people around her.

He recalled telling his friends, “if my mom got an issue with you, you’re the problem,” adding that she somehow proved him right every time.

Addressing her directly, Magixx described Esther as his “reason, my why, my guardian, my twin, my everything.” He said he would choose her “again and again in every life time, every cycle,” while expressing regret that he could not tell her one more time, face to face, how much he loved her.

The tribute ended with a deeply emotional message of hope and remembrance:

“This isn’t goodbye, it is goodnight.. as we will surely meet again in the morning my queen, I love you to infinity and a billion lifetimes, Thank you Esther… 💔🕊️”

Magixx has previously spoken about the impact of his mother’s health struggles on his life and music. In interviews in 2024, he revealed that his song “Okay” was largely inspired by the pain and emotions surrounding her illness.

Following the announcement, fans, fellow musicians and members of the Nigerian music community have flooded social media with messages of condolences and support for the singer and his family.

Entertainment platform Streamdorm also shared messages of sympathy alongside images believed to be connected to funeral or burial proceedings, showing family members dressed in white and carrying a framed portrait bearing the words, “Forever in Our Hearts.”

Magixx announces the heartbreaking loss of his mother. 🕊️💔

May her soul rest in peace. pic.twitter.com/RuT21ItQ9Y

— Music on Streamdorm 🎧 (@Streamdorm) August 23, 2026

However, no official details regarding the precise cause of her death have been publicly disclosed at the time of writing. Magixx’s tribute instead focused on her strength, character and the profound impact she had on his life.

As the singer navigates the loss of the woman he described as his everything, fans and colleagues continue to stand with him and his family during this difficult period.

Streamdorm extends its deepest condolences to Magixx and his family. May Esther’s soul rest in perfect peace. 

Asake brought his ‘In God We Trust’ World Tour to Toronto on Saturday, August 22, delivering a high-energy Afrobeats spectacle to a sold-out crowd at Scotiabank Arena.

The Nigerian star commanded the arena with an explosive performance packed with live instrumentation, striking LED visuals, stage smoke, energetic choreography and loud sing-alongs from thousands of fans.

The atmosphere intensified throughout the night as fans lit up the arena with their phone flashlights, creating a sea of lights while Asake moved through some of the biggest records in his catalogue.

Asake kept the energy high with performances of several fan favorites, including “Lonely At The Top,” “Forgiveness,” “Remember,” “Chanel,” “Mr. Money With The Vibe,” “Why Love,” “Asambe,” “Worship,” “EGO” and “OBA.”

Asake performing “Skilful” live at the Scotiabank Arena, Toronto. 😅 pic.twitter.com/qqWzlLg3SV

— Music on Streamdorm 🎧 (@Streamdorm) August 23, 2026

“Chanel,” his collaboration with Blaqbonez, also received a huge reaction, with the Toronto audience singing along despite the featured artist not being present.

“Lonely At The Top” and “Skilful” were among the other standout moments, with fans heavily involved in the performances and Asake interacting with the crowd throughout the night.

With a sold-out Scotiabank Arena show following his North American tour dates, the ‘In God We Trust’ World Tour continues to demonstrate the international reach of Afrobeats and Asake’s growing arena level audience.

Uncle Waffles opened the Toronto show before Asake took the stage, with the tour continuing across Canada and the United States. 

TikTok and its parent company, ByteDance, have agreed to pay $400 million to resolve a U.S. Justice Department lawsuit alleging that the platform violated federal children’s privacy protections by collecting and retaining personal information from users under 13 without the required parental consent.

The settlement, announced by the U.S. Department of Justice on Friday, August 21, is described by the department as one of the largest recoveries ever obtained in a case involving the Children’s Online Privacy Protection Act (COPPA).

The lawsuit stems from a 2024 complaint filed by the Justice Department on behalf of the Federal Trade Commission (FTC) against TikTok, ByteDance and affiliated companies.

The government alleged that TikTok knowingly allowed millions of children under 13 to use the platform despite its minimum age requirement, and that the company collected and used their personal information without first providing the required notice to parents or obtaining verifiable parental consent.

The allegations went beyond ordinary TikTok accounts. Federal regulators also accused the company of collecting children’s information through TikTok’s Kids Mode, a version of the service designed with younger users in mind.

According to the FTC’s complaint, TikTok collected information about children’s activities on the platform and persistent identifiers that could be used to build profiles. The complaint also alleged that some information from Kids Mode users was shared with third parties, including Facebook and marketing analytics company AppsFlyer, for a practice TikTok called “retargeting less active users.” 

The FTC further alleged that TikTok had difficulty identifying and removing underage accounts and that parents often faced unnecessary hurdles when trying to have their children’s accounts and data deleted.

One of the more significant allegations in the 2024 complaint concerned accounts TikTok classified as “age unknown.”

The FTC alleged that children could bypass TikTok’s age gate by using credentials from third-party services such as Google and Instagram, allowing them to create accounts without providing their age or obtaining parental consent. According to the complaint, these “age unknown” accounts eventually numbered in the millions.

The FTC complaint also alleged that between February 2019 and July 2022, TikTok collected more than 300,000 problem reports from Kids Mode users that contained children’s email addresses and retained those addresses longer than reasonably necessary.

The settlement is structured in two parts.

$300 million will be paid immediately.

The remaining $100 million will be paid after a court enters an order vacating a previous consent decree involving TikTok’s predecessor, Musical.ly.

That earlier matter dates back to 2019, when Musical.ly agreed to a settlement with the FTC over allegations that it had collected personal information from children under 13 without obtaining the required parental consent.

The company agreed to pay $5.7 million at the time.

TikTok acquired Musical.ly in 2017 and subsequently integrated the service into TikTok.

The Justice Department said TikTok has undergone significant changes to its ownership, management, compliance operations and privacy practices since the 2024 lawsuit was filed.

The department specifically pointed to measures intended to strengthen safeguards for younger users, improve age-related controls and increase parental oversight.

Recent reporting also indicates that TikTok’s U.S. operation has strengthened its age-assurance systems, requires users to provide their birth dates when creating accounts and has employees trained to identify and remove users believed to be under 13.

The Justice Department said these changes contributed to its decision to resolve the case rather than continue with prolonged litigation. 

Despite the size of the settlement, it is important to note that the settlement is not a judicial finding that TikTok or ByteDance violated the law.

The Justice Department explicitly stated that the claims resolved by the settlement are allegations only and that there has been no determination of liability.

The agreement allows the government to secure a substantial financial recovery while bringing the 2024 litigation to an end.

Note: This report is based on filings and statements from the U.S. Department of Justice and Federal Trade Commission, alongside corroborating reporting from Reuters and other major outlets. The allegations described above were not judicially determined as part of the settlement.

London’s Victoria Park became a celebration of contemporary R&B, Afrobeats, soul and UK dance music on Friday, August 21, as All Points East opened its 2026 festival run with a specially curated day headlined by Jorja Smith and Tems.

From the moment the gates opened, the festival offered a broad mix of sounds and styles, moving between soulful R&B, Afrobeats, UK garage, jungle, amapiano, hip-hop and electronic music across its stages.

With Jorga Smith curating the day alongside her label FAMM, the lineup brought together established stars, emerging voices and some of the most exciting artists shaping the current UK and African music landscape. The official bill featured Nia Archives, kwn, Ayra Starr, Odeal, Elmiene & The Sunday Service Choir, Destin Conrad, Uncle Waffles, DJ EZ, Maverick Sabre, Katy B, Wesley Joseph and many more.

By the time Tems walked onto the East Stage, the energy across Victoria Park had already been building for hours.

Performing as the penultimate act of the night, the Nigerian superstar delivered one of the evening’s most commanding performances, combining her trademark vocals with a much more physical and energetic stage presence.

Tems danced, moved across the stage and repeatedly connected with the crowd as she worked through her catalog.

One of the standout moments came during “Crazy Tings,” which quickly became one of the most talked about performances from the night.

But the biggest surprise came when Tems brought out Dave.

The British rapper joined her on stage for their collaboration “Raindance,” instantly turning an already major performance into one of the defining moments of the festival’s opening day.

The appearance was particularly fitting for the London crowd, bringing together two artists whose collaboration has become one of the strongest links between Britain’s contemporary rap scene and Nigeria’s global Afrobeats movement.

Videos of Tems and Dave performing “Raindance” quickly circulated online following the show.

Moment Tems brought out Dave at All Points East as they perform "Raindance" 🔥 🇬🇧 pic.twitter.com/6bEUIdw07t

— Music on Streamdorm 🎧 (@Streamdorm) August 21, 2026

If Tems owned the East Stage, Ayra Starr made the North Arena feel like her own headline show.

The Nigerian singer arrived with a set designed around movement, energy and familiarity, running through a mixture of major hits and songs from her newer material.

Her set included “Dangerous,” “Who’s Dat Girl,” “Bloody Samaritan,” “Misunderstood,” “Away/LHB,” “Heaven Baby,” “Midnight in NY,” “Gimme Dat,” “Pressure,” “Amazing,” “Ms Paper,” “Dance,” “Hot Body,” “Tornado,” “Rush,” “Commas” and “Sability.”

One of the sweetest moments came when kwn joined Ayra Starr on stage for “Amazing.”

The collaboration brought together two of the day’s most talked about young voices and gave the North Arena another memorable moment before the night moved toward its final headline performance.

After Tems’ explosive set and Ayra Starr’s high-energy performance elsewhere in the park, Jorja Smith had the responsibility of closing the night.

And fittingly, the festival’s curator ended the day with a set built around the music that established her as one of Britain’s most distinctive contemporary R&B voices.

Jorga Smith performed songs from across her catalog, including “Blue Lights,” “Teenage Fantasy,” “Addicted,” “Where Did I Go?,” “falling or flying” and “I Lied, You Lied.”

There was also a surprise appearance from AJ Tracey, adding another London connection to a night that repeatedly blurred the lines between UK and African music.

Away from the main headline stages, Nia Archives provided one of the strongest alternative moments of the night.

Her West Stage performance brought a completely different energy to the festival, leaning into jungle, drum & bass and the sounds that have long shaped British club culture.

Her set also created one of the night’s few genuine clashes, overlapping with Ayra Starr’s North Arena performance.

For fans attempting to catch both artists, it became one of those unavoidable festival dilemmas: stay with Ayra or head across the park for Nia Archives.

Still, the fact that both performances were attracting strong attention at the same time demonstrated just how much depth the day’s lineup possessed.

Odeal delivered a well-received performance on the West Stage, continuing the momentum around one of the UK’s rising R&B voices.

kwn also made an impression during her East Stage slot before returning later for her appearance with Ayra Starr.

Meanwhile, the special performance from Elmiene & The Sunday Service Choir provided one of the day’s more unusual and memorable combinations.

The festival’s programming also ensured that the day never became sonically one dimensional.

Uncle Waffles brought amapiano and DJ energy to the North Arena, while DJ EZ delivered the unmistakable UK garage sound.

Across the other stages, artists including Maverick Sabre, Katy B, Wesley Joseph, Destin Conrad, Bellah, Sekou, Bricknasty, Crazy Cousinz, Keyrah and others kept the park moving throughout the afternoon.

The SHY FX Presents Digital Soundboy takeover provided an entirely different experience, with jungle, drum & bass and club sounds taking over its dedicated stage.

Breakage with MC GQ, Champion, ENNY, Femi Koleoso, Saint Ludo and SHY FX himself helped create the dance-focused side of the festival.

Elsewhere, Westside Gunn brought his distinct hip-hop presence to the wider bill.

Tems is set to headline the East Stage at All Points East today at Victoria Park, London. 🎤🇬🇧

Ayra Starr is also among the acts set to perform. pic.twitter.com/3gtCtjimoO

— Music on Streamdorm 🎧 (@Streamdorm) August 21, 2026

Nigerian sprint sensation Kanyinsola Ajayi has etched his name into the country’s athletics history books after shattering the national men’s 100m record with a stunning 9.84-second performance at the 2026 NCAA Division I East First Round meet in Lexington, Kentucky.

Representing Auburn University, the 21-year-old delivered the record-breaking run during the quarter-final heats, eclipsing the long-standing Nigerian record of 9.85 seconds set by Olusoji Fasuba in May 2006. The mark had stood untouched for two decades before Ajayi’s remarkable breakthrough.

This achievement establishes Ajayi’s status as one of the fastest rising stars in global sprinting. Earlier in the competition, he had clocked 9.90 seconds, but returned with an even more impressive performance to rewrite Nigerian athletics history.

Ajayi’s 9.84 seconds currently stands as the fastest men’s 100m time recorded anywhere in the world in 2026. The time also places him among the greatest collegiate sprinters in NCAA history, ranking as the second-fastest collegiate performer ever and just 0.02 seconds shy of Christian Coleman’s NCAA record of 9.82 seconds set in 2017.

The Nigerian sprinter has been on an upward trajectory in recent years. In 2025, he became the first Nigerian man in 18 years to qualify for the men’s 100m final at the World Athletics Championships. He ran 9.88 seconds in the heats before finishing sixth in the final, signaling his arrival among the world’s elite sprinters.

Meanwhile, another Nigerian athlete, Samuel Ogazi, also delivered a historic performance at the same competition. The Alabama star clocked 43.82 seconds in the men’s 400m, setting a new Nigerian national record and reclaiming the world-leading mark for the event in 2026.

Ogazi’s performance not only broke the national record but also established a new school record for Alabama and became one of the fastest collegiate 400m times ever recorded.

The record-breaking performances by Ajayi and Ogazi mark a significant moment for Nigerian athletics, highlighting the country’s growing influence on the global sprinting stage. With both athletes in world leading form, expectations will be high as they prepare for the NCAA Championships and major international competitions later this year.

The 2026 edition of the Ojude Oba Festival once again transformed Ijebu-Ode into a living canvas of Yoruba heritage, fashion, and pageantry. Held on May 29, just days after Eid al-Kabir, the annual celebration at the heart of Ojude Oba Festival reaffirmed its status as one of West Africa’s most visually striking cultural gatherings.

From coordinated regberegbe processions to mounted horse displays and celebrity appearances, this year’s festival leaned heavily into tradition while still feeding the modern social media moment.

Ojude Oba, meaning “The King’s Forecourt,” is a centuries-old celebration held in honour of the Awujale of Ijebuland. This year’s edition carried added emotional weight, with tributes tied to the legacy of the late Oba Sikiru Kayode Adetona, whose reign helped elevate the festival into global cultural relevance.

The grounds of Itoro Centre and the Awujale Palace became the focal point as thousands gathered to witness a carefully choreographed display of Yoruba identity where history, faith, and community pride intersect.

Over 90 regberegbe (age-grade) groups participated, each arriving in coordinated aso-oke, lace, beads, and elaborate geles. Their synchronized entrances, chants, and dances created a competitive yet unified atmosphere that has become the festival’s signature.

The Regberegbe Spectacle

If there is one element that defines Ojude Oba, it is the regberegbe system. These age-based groups turned the festival into a runway of cultural competition.

Each group attempted to outdo the next with:

• Matching traditional outfits in rich fabrics and bold colour palettes
• Highly choreographed processions
• Musical accompaniment from local drummers and praise singers
• Dramatic entrances designed for maximum crowd reaction and camera appeal

No moment defined Ojude Oba 2026 on social media more than the return of businessman and cultural personality Farooq Oreagba.

Riding through the grounds on a decorated horse, Oreagba appeared in a flowing white traditional agbada accented with purple embroidery, matched with a fila cap, sunglasses, and signature cigar. His horse, decorated with vibrant fabrics, tassels, and patterned coverings became part of the performance itself.

But beyond appearance, it was presence that carried the moment. Calm, composed, and fully aware of the cameras following him, Oreagba once again dominated online conversation, extending a reputation that has grown since his earlier viral appearances.

For many spectators, he has become an unofficial face of the modern Ojude Oba where tradition meets personal branding without losing cultural grounding.

The 2026 edition also attracted a strong lineup of public figures and celebrities.

Notable attendees included:

• Ogun State Governor Dapo Abiodun
• Deputy Governor Noimot Salako-Oyedele
• Seyi Tinubu
• Senator Solomon Olamilekan Adeola

Their presence reinforced the festival’s growing importance not just as a cultural gathering, but as a political and tourism focal point for Ogun State.

Beyond politics, Nollywood actors, musicians, influencers, and fashion personalities filled the grounds in a wave of colour and style. Social media timelines were flooded with clips of coordinated families, elaborate outfits, and high-energy horse riders, turning Ojude Oba into a trending digital spectacle.

Another defining pillar of the festival remains the horse-riding families from Balogun lineages. Their decorated horses. Adorned with embroidered cloths, symbolic colours, and traditional regalia, carried riders through ceremonial displays that reflect centuries of warrior heritage.

The equestrian processions remain one of the most anticipated segments, symbolising status, history, and continuity within Ijebu culture.

Beyond the glamour, Ojude Oba continues to reflect deeper social themes: unity, identity, and resilience. While the festival celebrates wealth and style, it also highlights community cohesion across generations.

Kenjiro Tsuda, the acclaimed Japanese voice actor behind iconic anime characters like Seto Kaiba in Yu-Gi-Oh! and Kento Nanami in Jujutsu Kaisen, has reportedly taken legal action against TikTok over the alleged unauthorized use of an AI-generated replica of his voice.

According to reports emerging from Japan, Tsuda filed a lawsuit at the Tokyo District Court accusing the platform of allowing monetized content creators to distribute videos narrated with an AI voice that closely imitates his signature tone and delivery. 

The lawsuit claims that one TikTok account uploaded nearly 200 videos using the AI-generated narration. Tsuda’s legal team alleges that the account profited from the content, reportedly earning hundreds of thousands of yen monthly through monetization.

Lawyers representing the veteran actor argue that the AI voice imitation violates his publicity rights and unfairly exploits the years of work and recognition attached to his vocal identity. They also warned that unchecked AI replication could create long-term risks for voice actors and performers whose likenesses can now be digitally reproduced without consent.

TikTok’s Japanese operator has reportedly denied the claims, arguing that the narration in question was merely a “generic male voice” and not a direct reproduction of Tsuda’s performance or identity.

The lawsuit is already being viewed as a potentially landmark case in Japan’s growing conversation around artificial intelligence and intellectual property. As generative AI tools become more accessible, entertainment industries worldwide are increasingly grappling with questions surrounding consent, compensation, and ownership of digital likenesses.

Kenjiro Tsuda remains one of Japan’s most recognizable voice talents, widely celebrated for his performances in major anime franchises including Yu-Gi-Oh!, Jujutsu Kaisen, Tokyo Revengers, Chainsaw Man, and Attack on Titan. His deep, commanding voice has become a defining part of many fan-favorite characters over the years.

Drake has officially made Billboard history after his latest single, “Janice STFU,” debuted at No. 1 on the Billboard Hot 100, pushing him past Michael Jackson for the most chart-topping songs by a solo male artist.

The milestone gives Drake his 14th No. 1 hit on the Hot 100, surpassing Michael Jackson’s legendary total of 13 chart-toppers, a record that stood for decades and symbolized Jackson’s dominance during the peak of his global music reign.

Michael Jackson’s No. 1 records came across several iconic eras of pop music, with classics such as “Billie Jean,” “Beat It,” “Black or White,” “The Way You Make Me Feel,” and “Rock With You” helping define generations. Widely regarded as the “King of Pop,” Jackson transformed global entertainment with groundbreaking music videos, unmatched stage performances, and record-breaking album sales.

For years, his Billboard achievements remained among the most untouchable records in music history. However, Drake’s consistency in the streaming era has steadily seen him climb the all-time charts, breaking numerous records previously held by music legends.

“Janice STFU” continuing that streak further reflects Drake’s remarkable longevity and commercial power. The song exploded across streaming platforms immediately after release, dominating playlists, social media conversations, and digital sales charts worldwide.

With the new record now in his possession, Drake adds yet another historic achievement to a career already filled with Billboard milestones, multi-platinum albums, and sold-out global tours.

The 2026 American Music Awards delivered one of its most competitive and globally diverse editions with major wins spread across K-pop, pop, R&B, Latin, Afrobeats, and hip-hop. From BTS’ dominance to Sabrina Carpenter’s pop takeover and Cardi B’s hip-hop sweep, the night reflected a fully global music landscape. Held at the MGM Grand Garden Arena in Las Vegas.

ARTIST CATEGORIES

ARTIST OF THE YEAR

Winner: BTS

Nominees:

• Bad Bunny
• Bruno Mars
• BTS
• Harry Styles
• Justin Bieber
• Kendrick Lamar
• Lady Gaga
• Morgan Wallen
• Sabrina Carpenter
• Taylor Swift

NEW ARTIST OF THE YEAR

Winner: KATSEYE

Nominees:

• Alex Warren
• Ella Langley
• KATSEYE 
• Leon Thomas
• Olivia Dean
• SOMBR

ALBUM CATEGORIES

ALBUM OF THE YEAR

Winner: Sabrina Carpenter – Man’s Best Friend

Nominees:

• Cardi B – AM I THE DRAMA?
• Fuerza Regida – 111XPANTIA
• Justin Bieber – SWAG
• Lady Gaga – Mayhem
• Morgan Wallen – I’m The Problem
• Olivia Dean – The Art of Loving
• Playboi Carti – MUSIC
• Sabrina Carpenter – Man’s Best Friend 
• Tate McRae – So Close To What
• Taylor Swift – The Life of a Showgir

BREAKTHROUGH ALBUM OF THE YEAR

Winner: Olivia Dean – The Art of Loving

Nominees:

• Olivia Dean 
• SOMBR
• Zara Larsson
• Leon Thomas

SONG CATEGORIES

SONG OF THE YEAR

Winner: “Golden” – HUNTR/X

Nominees:

• Alex Warren – “Ordinary”
• Ella Langley – “Choosin’ Texas”
• HUNTR/X – “Golden”
• Kehlani – “Folded”
• Leon Thomas – “MUTT”
• Morgan Wallen – “I’m The Problem”
• Olivia Dean – “Man I Need”
• Sabrina Carpenter – “Manchild”
• SOMBR – “Back to Friends”
• Taylor Swift – “The Fate of Ophelia”

SONG OF THE SUMMER

Winner: BTS – “SWIM”

Nominees:

• BTS – “SWIM” 
• Other viral summer hits

SOCIAL SONG OF THE YEAR

Winner: Tyla – “CHANEL”

Nominees:

• Disco Lines & Tinashe – “No Broke Boys”
• PinkPantheress – “Illegal”
• Role Model – “Sally, When the Wine Runs Out”
• Tyla – “CHANEL”
• Zara Larsson – “Lush Life”

COLLABORATION OF THE YEAR

Winner: PinkPantheress & Zara Larsson – “Stateside”

Nominees:

• BigXthaPlug & Bailey Zimmerman – “All The Way”
• David Guetta, Teddy Swims & Tones And I – “Gone Gone Gone”
• Morgan Wallen & Tate McRae – “What I Want”
• PinkPantheress & Zara Larsson – “Stateside” 
• Shaboozey & Jelly Roll – “Amen”
• Tinashe & Disco Lines – “No Broke Boys”

POP CATEGORIES

BEST FEMALE POP ARTIST

Winner: Sabrina Carpenter

Nominees:

• Sabrina Carpenter
• Olivia Rodrigo
• Taylor Swift
• Lady Gaga
• Dua Lipa

BEST MALE POP ARTIST

Winner: Justin Bieber

Nominees:

• Justin Bieber 
• Harry Styles
• Bruno Mars
• The Weeknd
• Morgan Wallen

R&B CATEGORIES

BEST FEMALE R&B ARTIST

Winner: SZA

Nominees:

• SZA 
• Kehlani
• Summer Walker
• H.E.R.
• Victoria Monét

BEST MALE R&B ARTIST

Winner: Bruno Mars

Nominees:

• Bruno Mars 
• Chris Brown
• The Weeknd
• Khalid
• Giveon

BREAKTHROUGH R&B ARTIST

Winner: Leon Thomas

Nominees:

• Leon Thomas
• Mariah The Scientist
• Ravyn Lenae

BEST R&B SONG

Winner: Bruno Mars – “I Just Might”

Nominees:

• Bruno Mars – “I Just Might”
• Kehlani – “Folded”
• Leon Thomas – “MUTT”
• Chris Brown & Bryson Tiller – “It Depends”
• Mariah The Scientist – “Burning Blue”

BEST R&B ALBUM

Winner: Bruno Mars – The Romantic

Nominees:

• Bruno Mars – The Romantic
• Justin Bieber – SWAG
• Leon Thomas – MUTT
• Mariah The Scientist – Hearts Sold Separately
• Summer Walker – Finally Over It

HIP-HOP CATEGORIES

BEST FEMALE HIP-HOP ARTIST

Winner: Cardi B

Nominees:

• Cardi B 
• Nicki Minaj
• Megan Thee Stallion
• Doja Cat
• Latto

BEST HIP-HOP SONG

Winner: Cardi B – “ErrTime”

Nominees:

• Cardi B – “ErrTime”
• Other major hip-hop tracks from top female rappers

ROCK / ALTERNATIVE

BEST ROCK / ALTERNATIVE ARTIST

Winner: Twenty One Pilots

Nominees:

• Twenty One Pilots 
• Imagine Dragons
• Foo Fighters
• Arctic Monkeys
• The Killers

BREAKTHROUGH ROCK / ALTERNATIVE ARTIST

Winner: SOMBR

Nominees:

• SOMBR
• Emerging alternative acts

LATIN CATEGORIES

BEST MALE LATIN ARTIST

Winner: Bad Bunny

Nominees:

• Bad Bunny 
• J Balvin
• Feid
• Maluma
• Rauw Alejandro

BEST LATIN ALBUM

Winner: KAROL G – Tropicoqueta

Nominees:

• KAROL G – Tropicoqueta
• Bad Bunny – Nadie Sabe Lo Que Va a Pasar
• Feid – Ferxxocalipsis
• Rauw Alejandro – Cosa Nuestra
• Shakira – Las Mujeres Ya No Lloran

AFROBEATS CATEGORY

BEST AFROBEATS ARTIST

Winner: Tyla

Nominees:

• Burna Boy
• Rema
• Wizkid
• MOLIY
• Tyla 

Tyla wins ‘Best Afrobeats Artist’ at the 2026 American Music Awards pic.twitter.com/qhohzdKFEk

— Music on Streamdorm 🎧 (@Streamdorm) May 26, 2026

DANCE / ELECTRONIC

BEST DANCE / ELECTRONIC ARTIST

Winner: David Guetta

Nominees:

• David Guetta 
• Calvin Harris
• Tiësto
• Fred again..
• Peggy Gou

SPECIAL AWARDS

• Lifetime Achievement Award — Billy Idol
• International Artist Award of Excellence — KAROL G
• Veterans Voice Award — Darius Rucker