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#VGMANostalgia: 2016 – Of EL’s Crowning



Let’s admit, the EL announcement caught us all by surprise. EL too! Did you see his face when he was announced as overall winner?

In many ways, he saved the night..not necessarily as a laudable opening set, but for winning Artist of the Year.

Else, what would we have to speak about? The show was crisp and short, the performances were safe. Even Bisa apologised for the “pioneer” remarks. So, no scandal. And a VGMAs without scandal is nothing. Particularly in that sense, Charter House failed. The show was so precise that it was even a bit boring, and there were points in the programme when I just wished Shatta Wale would descend from the ceiling and cause trouble…you know, save the night.

Everything we asked for, we were given; the red carpet started and ended early enough, the performances were live, it was produced (actually produced) for tv, the awards were fairly distributed, the MCs did their part; looking pretty and smiling widely, award presenters wasted no time in announcing who won. Most importantly, the Artist of the Year, when he went up to pick his award, was not accompanied by an entourage of fifty; and so we saw his face when he spoke, and heard his heart when he sighed in disbelief…not that he didn’t believe he had done enough to deserve it, but that nothing prepared you for that moment, that same moment he might refer to as “ogboo feelings”. Nothing.

And what’s with all that murmuring? Bisa KDei should have won, he’s a better crossover artist, his songs had the most longevity to them, this wasn’t even a contest to start with…dah dah dah dah…You had folded your arms in complacency, expecting the votes to appear by themselves, when we both know Bisa isn’t an Ayigbe Boy. And then, when an actual Ayigbe boy won it, you feigned shock. Massa keep calm kraa.

Meanwhile, it was you noor who said that Bisa wasn’t that powerful a performer enough, and that Artist of the Year should go to a well-rounded person as only the well-rounded person should be allowed to be our ambassador in that respect. It was fun, a real sport –to inflame the  argument in that way. Now what are you saying?

Of course, deep down , you wanted Bisa to win, because he had the biggest songs and it was no mean feat for a highlife artist. But you’re the controversial one, and you had to play that role. You could have voted. You could have campaigned too on Twitter. But did you do that? No. Did you vote?

No no no, answer the question. Did you vote? There it is…

And don’t you dare suggest (not mildly, not accidentally), that the Ayigbe boy hasn’t worked hard enough. We both know that his ethic can be rivaled by perhaps only one or two others. And many have wondered for how long he would continue to be underrated in that respect. Thank God.

Indeed, EL deserves to be Artist of the year…anyone who observed closely would have got it.

“EL, borle, Young Lomi/ Lord, how you put so much in one body/”

These are a few observations I made about EL’s work culture back in December:

“EL is a hard worker. He too, has done so much for music this year that it can’t (shouldn’t) be overlooked. He juggles between the array of genres in this town, and leaves an impact everywhere. When we observe how easy it all comes to him, we are inclined to overlook, like it’s nothing…but if it were, everyone else would be doing it too. There’s a highlife song with Afro Harmony here, impressive stuff with the rock band Dark Suburb there, and several azonto–tempo songs and collaborations lying all around us. No matter what kind of music you lean to, there’s a good chance there’s an EL on your playlist. This month, his latest album comes out –I for one am confident about the quality on ELOM, and it’s not just because of the witty song titles on the album.

The genius he’s delivering to the above genres, he’s giving to hip hop too, which he might be trying to pacify with his B.A.R mixtapes, in parallel proportion too. With his mixtape, The B.A.R II, for instance, he has managed to fuel the conversation that he might be the Best African Rapper, which is what B.A.R stands for, to him. With The B.A.R mixtapes, he might actually have raised the bar in hip hop in Ghana several notches up (pun intended…or not). And while many other rappers here are having to “dumb down” their lyrics, he is one of the few who are representing lyricism and consciousness with their version of hip hop.

With this new mixtape too, he’s had to defend his affection fo hip hop, as well as rationalise why he had to “sell out” the genre before he started “selling”.

Like I said, I have high hopes for EL, who’s known in real life as Elom Adablah, and his ELOM album, because, well, Everybody Loves Original Music…but there’s also so much he’s already done with The B.A.R II…and his mixtapes cannot be taken for granted. Indeed, for his performance on American Passport, a song off his previous installment, he won Rapper of The Year at the VGMAs, so yes, EL’s mixtapes are not to be played with.

Finally on B.AR II, I would very much like for you to listen to the mixtape. There are 19 songs on there,and it’s for your own good. But if you can’t get all 19 songs, kindly listen to at least the following : We No Dey Hear, State of the Nation, and 10 Rap Commandments. These are specifically songs for everyone with ambition and challenges, which refers to all of us anyway. After that, let’s discuss depth, vision, observation, honesty in music, and the art of social commentary.

Did I mention he produces songs too? And don’t even get me started with stuff that his Koko is doing already.”

Indeed, if there’s one thing to learn from EL’s win, it should be that hard work will be rewarded, even if eventually. Someone is watching, and in his own words, “you never know de plans wet God get”

He’s called himself “The Best African Rapper”, he’s called himself the “best artistic product from the motherland”. Now he gets to call himself the man of the year.

More vim, Elom. More vim.


*Note: This piece was first published by on May 9, 2016. We have reproduced it as a note from our archives as part of our build-up to this year’s event.




Long Reads

MADINA-ATOMIC EXPLOSION: A Loud Bang, A Run For Survival, A People’s Cry



city’s peace is meddled with while she is wide awake. The intrusion is abrupt and rude. It is unforgiving.

It is Saturday evening and there is heavy activity in and around the Atomic Roundabout located on the Legon-Madina-Adenta stretch in Ghana’s capital, Accra.

A bang occurs. It is potently brash and decisively destructive. At once. An explosion had occurred. The Mansco Gas Filling Station, located some few metres away from the Roundabout, had caught fire.

Soon, the explosion would schlep its way through – rather angrily; devastating anything in sight – a nearby TOTAL Filling Station, another Filling Station Benab, eggs, oranges, jewelry, furniture, cars, billboards, biscuits, fizzy drinks, humans.

It is not a pretty sight. In minutes, the huge eruption that had occurred was as dramatic as the scenes that followed: a residential property’s wall collapses in whole while a man’s entire living room is razed down completely. Everything was gone.

An impact was felt. Ten kilometres south of the scene, a radio station’s Manager is awoken in his sleep by what he says sounded like a bomb. Five miles away from the epicenter, in another direction, a young banker, who sees the skies turn a combination of colours, hurriedly shepherds his family of four out of their residence, heading out to nowhere – for as long as they were safe.

Social media and peer-to-peer platforms came through with enough detail to get a nation’s attention. Local news outlets characteristically switched to operations mode, dispatching teams. The worse had happened. A city’s life had been jolted, a township had been brought to its knees by an explosion which had no mercy, not even for non-living things not interfering with its brutish self.

The explosion announced its intimidating evolution in not so pleasant ways.

“I have just heard a loud bang; I don’t know where it is coming from,” said a Facebook post by a woman who gave her location as Tema Motorway, an appreciable detachment from the precincts of the blast.

Messages of distress poured in. They were ample to paint a perfect picture of pandemonium.

Around the facility, sprints for life were made; humans run over each other, cars and motorcycles (in attempts to escape) hit pedestrians. A different kind of apocalypse was taking place before the very eyes of a city having its standard evening quiet time and preparing to call it a day.

The fire raged on, causing considerable fear and panic. In major schools nearby – the University of Ghana and the University of Professional Studies, as well as the Presbyterian Boys Senior High School – students ran for their lives, clutching on to anything, anywhere, to stay safe. Some were evacuated to nearby facilities. Around the scene of the blast, a lot had been lost in seconds, and wares were deserted in minutes thanks to the ferocious inciter of terrible scale.

For a decent amount of time, little was done to hold back the fire which reared its ugly head so high, so huge that it seared the silence of the night – near and far – just to make a claim about how mighty it was. In its full show of strength, it managed to shape a city’s agenda for the ensuing hours of the night.

New and traditional media went into an overspill. All night. There was enough to feast on – tremble, varied eyewitness’ accounts, tales of misses by a whisker, what is, what should have been, and angst.

Firemen, drawn from within the capital and close to the scene, would later show up to be counted as men of valor and dedication willing to douse a wreck ball that stood to threaten their occupational and structural intelligence, and capacity. For hours into the night, they did what they were called to do, attempting to minimize the magnitude of the rubble.

Sunday, October 9. A fireman at work. PHOTO/OBED BOAFO

Later, the rains would come through with adequate downpour to rip through the shackles. But it did little, too, considering the extent of the blast, and giving the firemen some more work into the next morning.

On Sunday October 8, 2017, an understandable atmosphere of grief and sorrow was the depiction at the scene. The pungent smell from the previous night’s damage was too strong.

Hundreds had come to witness the extent of devastation. For the uninitiated and uniformed, it was good time to catch up. On the edges of the overpass that sits atop the Atomic Roundabout, hundreds stood to feed on the near-apocalypse scenes beneath them. It was an assembly of media, security and political heads, with another gathering of passers-by cordoned off with police barricade tapes.

Vicentia Kporku, a.k.a. Daavi Special, a food vendor who operates some 50 metres from the scene, recounted her experience during the burst. She cuts different looks of okay and trepidation; they are quite mixed for the fairly aged Kporku, who speaks of how she escaped the blast narrowly together with her five workers at the small eatery she maintains along the shoulders of the stretch.

“It could have been worse,” she says, pointing to a tiny scratch she had on her legs, acquired in an attempt to escape the fury of the fire.

“I am yet to hear from my workers. Some went as far as Adenta and others, too, are yet to call,” she says in the local Ghanaian Twi language, spoken by a majority of the people in the national capital.

Kporku’s narration is shared in part by dozens who also fled the scene while the blast continued. Like many others, Gideon Dzreke, a pump attendant at the Benab Filling Station, said all he saw was a bang, followed by shouts of misery and a call to action for survival.

“I had to flee; my colleagues were also nowhere to be found. We were all running for our dear lives. The force behind the fire was so loud. It was like a bomb,” says Dzreke.

“It is by divine grace that I am alive,” continued Kporku, adding to a number of testimonies around divinity on and off site, one being that a larger number of casualties would have been recorded had it happened the night before when some old students of the Presbyterian Boys Senior High School grouped for their annual Bonfire event.

An officer from the Criminal Investigations Department of the Ghana Police Service on duty. PHOTO/OBED BOAFO

At the scene on Sunday morning, protocol officers cued in an important running order. There is an expected visitor –  the Vice President of the Republic of Ghana, Mahamudu Bawumia, who had to cut short a tour of the Northern Region, to ascertain the extent of damage. A deputy Minister of Information, Kojo Oppong Nkrumah announces to a group of media people that Bawumia should be there in minutes.

Bawumia zoomed in. A convoy of saloon cars slided past a make-shift police entry point. He dismounted and headed straight to the scene, where he was briefed by the Deputy Director General of the National Disaster Management Organization (NADMO), Abu Ramadan, whose men had been at the scene all night, all morning.

The Vice President was joined by other Politicians including Attorney-General Gloria Akufo, who later spoke of her experience with the blast.

Vice President Bawumia arrives at the scene. PHOTO/OBED BOAFO

Clad in a traditional all-black Ghanaian cloth of sorrow, she placed her two hands on her head while Bawumia addressed the media. She was in the quintessential traditional posture of deep mourning and grief.

“I traveled for a funeral and came late only to meet the explosion. I thank God for my life and for that of my old lady who was around at that time in my house. The colour of my house has changed to black; some of my sliding doors and ceiling have also broken,” Akuffo later told journalists.

As the Vice President prepared to leave, a man behind the Police Barricade tape screamed “let’s do the right thing.” He would later explain.

“We have always been experiencing these kinds of disasters but little action has been taken to address the root causes and prevent their reoccurrence. The owner of the Gas Filling Station here has, for years, been complaining about the close proximity of some of the shops to his facility but nobody listens; they said he was full of himself. Today, here we are faced with this.”

Another man wearing a protest cum advocacy-like T-Shirt would also add his voice to the call for sanity.

“This is unacceptable. We can’t always behave like this. I am sad but this could have been avoided.”

Devastation. Scene of the blast. PHOTO/OBED BOAFO

The calls were in perfect tune to that of the Vice President who was emphatic in his address to the media while he visited.

“We are going to move to deal with it, and quickly.”

Bawumia’s boss and President of Ghana, Nana Addo Dankwa Akufo-Addo, later spoke to the issue at hand, calling for “a stop”, a plea embedded in what many say are lapses in the administration of laws that govern the operation of Filling Stations – gas, petrol et al.

“We cannot continue with them,” referring to the obvious disregard for national and community bye-laws by the operators of the stations.“It is one too many. We cannot afford anymore. Everybody involved in the industry to recognize that we all have to make adjustments to be able to guarantee the safety and security of our people, so these things do not happen again. I need your support, and the co-operation of the people of Ghana to make sure that the policies that we will be bringing out succeed, so that such incidents become a thing of the past and not of our future.”A repetitive call some have punched holes into, Conversations about getting things right are visited every now and then when a major blast occurs such as the worst in Ghana’s history – the June 3, 2015 Nkrumah Circle Goil Filling Station accident that claimed over 100 lives, and which led to the establishment of a five-member committee chaired by a retired Justice of the Court of Appeal, Isaac Justice Douse.

The call for stringent measures is high on the agenda for the Ghana Gas Manufacturing Company, whose CEO, Frances Ewurabena Essiam blames past and present regimes for neglecting her outfit. Essiam is hoping action will be expedited on the implementation of the LPG Cylinder Exchange/Recirculation programme (Gas Exchange Programme), mooted by the National Petroleum Authority.

“This must stop,” says ‘Dr Think Twice’. PHOTO/OBED BOAFO

Both organizations and other stakeholders, including the Environmental Protection Agency and the Ghana Standards Authority, hope the programme, which would see cylinder bottling plants making onward delivery to the stations, will curb the high incident of explosions.

Chief Executive Officer of the NPA, Hassan Tampuli, has argued that the programme is ideal if Ghana is to make any headway in limiting these explosions.

A model experimented in other countries such as Kenya, Tanzania and Brazil, it places the responsibility of filling the cylinders in the hands of the bottling companies, who in turn dispatch them to the retail outlets in exchange for empty ones, meaning domestic or individual users only get to use cylinders that change hands from one person to the other, from time to time.

Two cars completely ruined at the scene of the blast. PHOTO/OBED BOAFO








Civil society is in support of the Gas Exchange Programme.

Part of an August, 2017 publication by Think Tank, IMANI, read:

“Even though Ghana has experienced a number of gas explosions in the past, the thing that draws attention and public outcry concerning the recent explosions is the level of fatality. Gas refill stations have increasingly been brought closer to consumers in order to meet needs and this practice invariably has multiplied the fatality rate of explosions. Any move to reduce fatality will require an effective means that will remove gas refill sites from residential communities without undermining access to LPG.

“The common sense deduction then is that the cylinder exchange model has full potential to reduce the fatality of gas explosions because it eliminates the need for consumers to be exposed to direct dispensing of LPG. However, given Ghana’s unique situation as the only country in the world that still relies solely on gas refill stations located in residential communities, it is the only country that has recorded fatal deaths due to LPG explosions and fires at gas refill stations within residential communities. The direct effect of the cylinder exchange model on reducing gas explosions may only be correctly analyzed perhaps after a couple of years of implementing the policy in Ghana.

“Further, gas explosion may be more a function of adherence to safety measures than of the location of gas stations. A study assessing the impact of fuel filling stations on the environment in Ghana found that most gas filling stations under study violated critical safety requirements exposing the community to several levels of risk.”

IMANI argues that even though there may be structural implementation issues to the programme, it would become useful when it fully hits home. They offered some ways the country could work around the programme if it ever gets to take off. Over nine points, they noted that:

*It will be expedient to fast track the recapitalization of the Ghana Cylinder Manufacturing company to facilitate production of smaller size cylinders (3kg and 6kg) or engage the private sector to provide them. This will facilitate rural access to LPG given the relatively cheaper cost of the smaller size cylinders.

*Position the country to eliminate malpractices (such as unauthorized cylinder filling, unlicensed distribution, under or over filling and cylinder theft by standing ready to enforce regulations through innovative means). For example; the Indian Ministry of Petroleum and Natural Resources in 2012 created an online portal that provided real time information on the supply chain distribution system including distributor ratings. This reduced diversion of LPG commercial sales and facilitated overall transparency in the distribution business.

*There is the need to correctly identify and separate market segments, that is, domestic, commercial and industrial in order to adequately serve each consumer segment.

*The regulator must stand ready to enforce fool proof safety measures that will curb gas explosion at bottling/filling sites. There is also the need to undertake rigorous public education and sensitization on LPG and handling practices especially in view of the potential for increased access to rural areas

*The Cylinder Exchange implementation plan should have a long term view and should be scalable for example through the establishment of more bottling plants which are appropriately distributed geographically per year so that future demand growth is well catered for.

*Gas Tanker businesses as well as gas refill stations should be worked with and supported to redefine their business models in order to take advantage of the potential business opportunities that are expected to emanate from the implementation of the Cylinder Exchange Policy. This will also help to prevent a situation where existing gas refill stations rush to dispel/sell off stored gas to avoid perceived losses caused by an outright ban and by so doing create an artificial shortage of LPG. Tanker operators may merge and form partnerships with bottling companies so that their services may be employed in transporting LPG from production points to bottling plants.

*Explore and acquire highly efficient distribution management software that would facilitate the running of the cylinder exchange model in order to prevent situations where consumers are not able to access services. For instance; Supergasbras, one of the largest LPG retailers in Brazil which supplies 1.5 million tonnes of LPG per year to over 10 million households via the cylinder exchange model employs the SAP Secondary Distribution Management software which provides efficient administration and automation of the entire process chain from order entry to transport planning and invoicing.

Eyewitnesses to the Saturday October 7 disaster have attempted an official account of what might have caused the outbreak, the legend of all being a mysterious Khebab seller – said to be the source.

A food vendor’s facility is not spared. PHOTO/OBED BOAFO

The story goes. A truck carrying Liquified Petroleum Gas pulls up at the Station to offload its stock. In discharging, a slip occurs through one of its points, the gas evaporates and in full in a manner that caused persons around to run for cover. The leaked substance catches fire from what is believed to be a naked flame from the Khebab seller’s set nearby. The destruction occurs. End of story.

The tale’s credibility and sequencing has been questioned by some citizens while officialdom and the security establishment have gently asked for ‘proper investigations’ to be conducted before any conclusions are arrived at.

President Akufo-Addo, who made his way to the scene on the afternoon of Monday, October 9 (in the company of more politicians, including the Chief of Staff Frema Osei Opare) has maintained the need for a concerted national effort at addressing the rampant blasts; once again hinting of a policy to act as backbone for the sector. He later dashed to some hospitals in the capital hosting victims of the blast, an activity his Number 2, Bawumia, had similarly performed a day earlier.

Later in the afternoon, Akufo-Addo welcomed, to the Presidency, the family of Mohammed Ashiley Yakubu, a reporter of local television station NET 2 and a member of the Presidential Press Corps, who lost his life while he was on duty at the scene on Saturday. Akufo-Addo promised to personally foot the bill of his funeral and burial rites.

Ashiley’s mum in tears when she was hosted by the President. PHOTO/Flagstaff House








While losses are still being counted, discussions continue to hold in high and low places on just one thing – a lot of damage has been done already but sanity can at least prevail within the downstream sector, to offer, as President Akufo-Addo believes, security to the Ghanaian people.

Saturday’s blast was the eighth in four years according to the Ghana Standards Authority. Official number of deaths recorded as of Monday October 9, 2017, stood at 7 while over a hundred are reportedly injured from wounds of varying degree, mostly burns.

Official investigations are ongoing.

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Long Reads

Once, Twice Dreams, and NOW A Life so Good, so ‘Nagga’ – Eboo, THE COMEBACK



Eboo steps into the focus of Director OJ’s RED with routine confidence — grey bleach accentuating his high taper fade haircut. This is the first time in seven years he is shooting a music video — or publishing any music for that matter, but it doesn’t show at all. Donning a bright-blue summer shirt over yellow khaki shorts and Adidas sneakers, he is the centre of attraction — being beheld by everyone and everything: OJ’s lens, the crew, passers-by, and mid-morning sunlight.

Honey, the 2010 Kaywa-produced paragon featuring rapper FlowKing Stone, would prove to be his last submission for a significant while.  Serving as OJ’s directorial debut, the song, like his breakout hit Once/Twice (2005), is a true Ghanaian classic, and remains among key songs which have served as template for Ghanaian reggae-dancehall in this millennium. Eboo gets painfully little recognition for the creative foresight he displays on both songs. Yet, observe carefully, and you’ll find that even then, his music contained elements of what we now term as “Afrobeats”.

But Eboo is an outcast, and outcasts aren’t usually recipients of praise until it’s nearly too late. While his peers did hiplife, he stuck to island rhythm, and prevailed. Proof? Put on Once/ Twice.

Eboo took a break from music to finish school and start a family. And while he did these, music lovers consoled themselves singing the choruses of his songs with heavy nostalgia, hoping that one day, Eboo would return.

Prayers do get answered. A month ago, the singer announced his resurgence, with rapidly permeating  joints as Good Life, Nonstop, and Bad Girl. More singles are scheduled in coming weeks, before the album is ultimately released. Titled Good Life, the project consists a whopping 21 songs.

RETURN OF A KING! Eboo holds listening session for COMEBACK ALBUM – SEE IMAGES!

An August 4 listening session held at the Africa Regent Hotel and hosted by broadcaster Jay Foley was attended by top connoisseurs: EIB Network execs Bola Ray and Klaus Von Bakustein, music promoter Dr. Duncan, journalist Francis Doku, veteran producer Kwik Action, celebrated video Director OJ, Happy FM’s Dr. Cann, etc. That is how seriously Eboo’s music is taken.

He is among a handful of acts whose music meet multiple purposes. They work perfectly as club anthems, but are also constructed to appeal to passionate emotions just as well. How does he achieve this? A combination of factors: for one thing, his songwriting is unpretentious, hence easily relatable. Also, his vocal technique, especially when he ad-libs, oozes with a vulnerability that instantly captivates you. Finally, his idols: Bob Marley, Michael Jackson, Steel Pulse, Burning Spear. These are among history’s most trusted melody gods.

Eboo reunites with Director OJ onset his new music video in Cape Coast

In-between takes at the Capital Hill Hotel that evening, Bad Girl thunders out of huge speakers in the sports pub. Everybody is beat, and resting for a bit, but still nodding/ swaying to the jam. Eboo stands in the middle of the room, possessed by the very melody that he himself has composed.  It is not entirely shocking…his song “Good Life” is his ringtone. Gesticulating with his fingers, he performs to an imaginary woman: “all the times I stayed out late, I did it just for you“, he cries, pointing to the air in front of him. Such is the feature of a true artist — wearing his emotions on the sleeves of his blue denim button- down.

BTS IMAGES: Eboo reunites with Director OJ for new music video

A similar demeanour is observed at various other locations all through the day — up a porch in front of the historic and magnificent Cape Coast Castle in the Central Region, or a blue gate directly facing it, in the lungus close-by, or up a breezy roof further down.

“Good Life” is essentially Eboo’s debut album, and that might come as a shocker to many, judging by the sheer impact of his sound. As was the case when he first stormed unto the scenes, an earthquake is imminent. Not unexpectedly, it is entirely themed on affection and an overall positive vibe. “We’ve been through everything, and now it’s time for the good life”, he explains as the motive behind the album name.

Born on December 15 in the Ashanti Region of Ghana, Eboo (Jehovah is My Refuge) describes his life as one dedicated to music. He started music at the tender age of twelve (12), and has hardly looked back ever since.

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Long Reads

OBITUARY: Paapa Yankson



Highlife legend Paapa Yankson was finishing his sixteenth and final album until his passing at his Dansoman residence last Friday, July 21. According to producer Dan Graal (with whom he was working on the project), it consists entirely of love songs: to a neighbor, to family, a lover, humanity.

Old and poorly, he would not be bound from his passion, for he still frequented the studio, pursuing the one thing most familiar to him –the one thing through which he interpreted the world: music. Yankson spent his final days in the studio, says Graal. He was carried, in a wheelchair, from the car to the studio for his sessions.

Wheelchair or not, Benjamin Paapa Kofi Yankson (as he was born in the 1940s) still performed at public events, and still overwhelmed audiences with uncommon charisma. He commanded he atmosphere with vivid charm and uplifting aphorisms. It was evident in the eyes of those gathered under his feet, swaying their arms, and singling along to his evergreen choruses.

Over an illustrious career which commenced in 1987, the musician has addressed a wide variety of issues –faith, jealousy, grace, odium, choices, life… but he has always returned to the root of all themes: love. He is credited with authoring some of the most important love songs in remembered history. His sterling repertoire is littered with several highly influential love records: Show Your Love, Obiara Na Nedofo, Adwen Pa, Bebia Odo Wo, Asomdwoe Wo Ho, Tena Menkyen

That last song, a convincing duet with Paulina Oduro, is among the country’s most iconic — a true classic. Introduced by tender whistling and a ripe tenor, the melodious tune captures flawlessly, a sentimental exchange between a couple in love. It is rendered with adorable playfulness, and impeccable vocal confidence that it cuts across generations in its impact.

It is no wonder that Paapa Yankson would intend for the album with which he walks off into the sunlight after over thirty years of service, to be themed entirely of love songs. It is what his life has been dedicated to. It is what his life has been based on.

It is important to be reminded, amidst all the chaos, of the essence of love in our being. This was Yankson’s calling, and boy has he carried it out diligently. This is why the nation was so enamored by him.

Empire’s inaugural Bottles & Bands concert (November 2016) was among the last platforms he performed on. A truly surreal experience, event proved a testament to how deeply he was cherished. Every few minutes in his performance, on-air personality Giovani, who served as MC for the night, would interrupt and make an announcement of donations from corporate bodies and individuals who could not hold back their love for the highlife icon. Amounts donated that night summed up to about GHC 50, 000. The smile which remained on his face showed it all. He did not utter many words, but was clearly overcome with gratitude at the compassion on display.

A similar scenario can be recalled from this year’s Ghana Music Awards held back in April. He had just been conferred with “Lifetime Achievement Award”, and had been served a marvelous tribute by Adina and Akwaboah Jnr. Again, that smile could be seen behind his glasses. It was there he announced that he would release new music again soon. But alas, it never arrived. Perhaps posthumously though…

As expected, tributes have poured in from every direction: contemporaries to new age musicians, government officials, and fans all over the world, but they’ll never quite be enough to fully express what he meant to all of us.

Even until his passing, Paapa Yankson’s voice remained unscathed, if anything, it was enriched with age — that deeply moving tenor which has mirrored in his songs, various aspects of our lives since co-founding the famous Western Diamond Band. Due to the richness and perpetual relevance of his style of composition, he managed to hold his own even in the years after he be came most prominent –again, Tena Menkyen serving as reference. The song remains a fan-favorite several decades after its release.

Yankson comes from a generation of revolutionaries. He belongs to a celebrated core of acts from Ghana’s west (stretching all the way from Cape Coast to Takoradi). Together with the likes of Jewel Ackah, C. K Mann, A. B Crentsil, and Gyedu Blay Ambulley, they have served as true coastal giants — blameless ambassadors for music from that area, commendably rivalling counterparts from Accra, and bringing weight to the statement “the best comes from the West”. Now a cemented expression, it also extends to other cultural aspects as speech, mannerisms, etc. Successfully, and with unbelievable longevity, they have managed to advance a bold influence of folkloric music shaped by daily seaman coastal vibes…vibes which abound in the music of generations after them: Paapa Yankson’s son Silas, rap groups TH4 Kwages and Sass Squad, and in recent years, Kofi Kinaata, Castro, Pappy Kojo, Akiti Wrowrow, and T Phlow – the new crop “Fante Confederacy”.

Paapa Yankson was always in high spirits at public events, and held to a firm conviction that he would walk unaided again. It was so tangible –this faith –that people at the end of his words had no option than to believe too. Maybe that confidence extends to his legacy too.

When you take the music that Kofi Kinaata is doing today – his approach to songwriting, there’s no question that Paapa Yankson continues to influence the process strongly. That is why, in a decade to come (especially relating to style, rhythm, flair, presence), it would be even more apparent what jewels he would have left this younger generation, pearls which will simply never be repeated.

Member of pioneering bands as The Carousel Seven, Western Diamond, and Golden Nuggets, Yankson is a native of Winneba, and alumnus of Takoradi Methodist Ahantaman Secondary Commercial School. He has also lectured and performed and performed in several countries including the  United States, Canada, Belgium, United Kingdom, Germany, and Holland.

He’s recipient of major honors as The Grand Medal of Ghana (2006), and a Kokomba award for Best Composition for his song Yaaba.

For years to come, a legend’s name will forever be etched in the hearts of many. Yankson’s life and times in music stand for the beauty abundant in today’s yearn for good music. That rallying theme is embedded in a resolve that sits at the very heart of a decent conversation on just who brings the party home.

He brought it home on many occassions. Years on, he may have to lie motionless and without life – to observe how fitting or otherwise his final rites would be. This time, the party has to be thrown by Silas and co., maybe Kinaata, maybe Wrowrow, maybe the Fante VanDamme Pappy Kojo.

A Fante god goes home.

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Yaa Baby’s Purse & a Premature Christmas – Wutah’s ‘Bronya’ – A REVIEW



Bronya, the second joint since Wutah announced their return as a group, is an important record for many reasons.

Smoothly authentic highlife programmed by Kindee, it expels all doubt that the Kotosa boys are back to take what is theirs: a spot among our favourite bands.

But we can’t necessarily blame skeptics: save for, perhaps BukBak, no Ghanaian group has, after splitting, seen any success upon resurgence. But then again, none really came back with a hit as solid as what Bronya is proving to be. It is why Wutah’s case is worth studying, though understandably, it may be a bit premature.

BukBak made a bold statement with Kolom and Alanta (both off Fisherman’s Anthem), but Bronya is as a blistering left hook unleashed from the fist of a prized boxer. It sets them back onto the legacy they began charting with Anamontuo –an exceptional debut album with which they impressed upon the ears of all, that they had superstar quality. On a project consisting strictly chefs-d’oeuvre, Adonko, Goosy Ganda and Big Dreams shone brightest, securing them an outstanding 11 nominations at the 2006 Ghana Music Awards: ‘Most Popular Song of the Year’, ‘Album Of the Year’, ‘Artiste of the Year’, ‘Best Male Vocal Performance’, ‘Hiplife Song of the Year, ‘Hiplife Album of the Year’, ‘New Hiplife Artiste of the Year’, ‘Hiplife Artiste of the Year’, ‘New Artiste of the Year’, ‘Songwriter of the Year’ and ‘Reggae song of the Year’, with Big Dreams picking up the laurel for “Reggae Song of the Year”.

To prove that they weren’t merely a flash in the pan, they followed up the successes of their debut with Kotosa (2008). If Kotosa isn’t their biggest song, it certainly is in the top 2. Also of majestic highlife punctuated with captivating saxophone placements as intro and interlude, Kotosa (produced by the Dansoman-based Appietus) is crafted specifically for a couple in love.

For the entirety of those six minutes, you can’t question that this is magic at play, for it entrances you like you’ve never experienced. Suddenly, your hands are wrapped around the swinging waistline of a certain Sitso, and your eyes are staring at the dots in hers, and a meaningful smile contours on your cheeks. Your foreheads are touching, and everything else fades into the background. Right at the point of the interlude, she turns around, so that her roundness sits in your crotch, never mind that you’re both standing.

Wutah, consisting Daniel Morris (Risky/ Wutah Kobby) and Frank Osei (PV, now Afriyie), who placed second to Praye at the 2005 edition of Nescafe Africa Revelation talent show, shared the same Mamprobi neighborhood, and who fused highlife and reggae in such a consummate manner, decided that they wanted to go their separate ways.

Nobody blames the pair (who were not nearly as successful when they each set out on solo careers, though it is important to mention that more that Afriyie better held the fort for the brand, considering his strides at the Ghana Music Awards, especially in the “Highlife” and “Best Male Vocalist of the Year” categories) for their 2009 split – creative differences (as was rumored among other things to be the reason) are serious business, and nothing lasts forever, in the end. But for them to do it during (potentially) the highest point of their career? That is why it was such a hard blow on all of us.



But they’re back. They seem to have lit the proverbial peace pipe, and the fire (which is what “Wutah” stands for in Hausa), is blazing again. “They are united to do music, so people should be happy,” their publicist Nana Kojoj Afreh told Citi Showbiz in May.

Even if it was a decent jam, AK47, the first single upon their rebirth, was released to mixed reviews. Produced by Ceedigh, it didn’t quite serve as the bang they anticipated. Not even an excellent summer video by Xpress Philms (released under Guru’s NKZ Music) seemed to have helped. Still, it’s a good joint, and should pick up eventually.

But Bronya? Bronya is their real comeback song. It is spreading like an inferno, and there are many viral videos of people singing along/dancing to the song to prove it. Like Nacee’s Boys Boys, it has also become an accepted street anthem, seeing how it so aptly summarises dominant attitudes of the masses. It speaks to their attentiveness as artists – be conscious of your environment!

The chorus translates loosely as “we wont wait till Christmas to have a drink”. Like Kofi Kinaata, (for Confession), and Nacee (for Boys Boys), credit must be given to Wutah for their ingenuity in packaging serious themes in tempting choruses. “they’re glorifying vanity”, moralists would posit, but really, Kinaata is cautioning against driving while drunk, Boys Boys emphasizes resilience in the face of adversity. Wutah submits a similar message, and play into an ongoing narrative of people having fun in spite of life’s many obstacles: “I’ll live in the moment; I’ll be happy for me. Things are hard — they’ve always been –but I’ll enjoy life regardless, I’ll appreciate the wealth that life is, every chance I get”. These are, in actuality, what the choruses in these songs symbolize. Clearly, these songs spark wider conversations than merely “alcohol music”.

The intro of Wutah’s Bronya may have been mined from Flavour’s Nwa Baby? That’s debatable, first of all, but also, specifically because Flavour is the artist in question, we don’t care. Why, Flavour may have more than mined the whole of Kotosa for Kwarikwa, which he has even recently remixed (featuring Congolese legend Awilo Logomba).

Bronya is also a great look for highlife, and a great case for the Takoradi-based Kindee, who is behind key highlife joints in this town today, especially his partnerships with Kofi Kinaata.

Bronya is highly melodious, but also straight to the point: 3 minutes and 20 seconds, 4 bars and then a chorus. Once you hear the chorus, you can’t wait to hear it again. This is obviously considered in the structuring of the song. It is also resplendent in its quintessence as original Ghanaian groove. It’s a new song, but it also feels old, specifically because of its gentle tempo, diction, as well as the particularly ethnic guitar strings which pilot it.

The adlibs, too, and how sentimentally they’re carried out … they feel like something from the 60s and 70s, and it is all brilliant in how they culminate into the magic words in which we are all pleased:

Yebro dada, yentwen bronya

Bronya forms part of a small sum of songs that both young and old folk can relate to, and therefore share a dance floor with.

And that is what the happy-me-happy-you song’s central theme of slapping affliction in the face, stands for. For two young men, the chance to do music all over again may have been mooted and lifted by a song whose mass choir chorus does more than just serving up society’s serious issues in a bottle of cognac.

What they actually end up producing, is a blazing fire called Wutah that brings Christmas forward six clear months before Santa comes home.

Listen to Bronya below


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An ‘helement of waawooh’ – A man’s accent, music, Africa’s gain – A very bahd guy called Falz



The tough dark man returns with welcome news: “he is ready to see you now”. His speech is hurried, and is delivered in a sprightly Nigerian accent. He sports a t-shirt, khaki shorts and flip-flops, and in his right hand is an iPhone which constantly rings. Earlier, when he had come down to shake hands with us, he had mentioned that the man whom we had come to see, was in the middle of getting dressed.

We follow him up a small elevator. He pushes the number 2 button with his thumb, and looks up, like he can see our destination. The little chamber starts humming, and in our legs, we feel levitation. Moments later, the door slides open. We have arrived!

Here in this snug Accra City Hotel suite sits the young man we have come to encounter. A golden ambience floats in the room: in the curtains behind him, in the night lamp on the table, from the frameless sunglasses through which he held a blank look, on the necklaces resting on his long-sleeved t-shirt, in a gentle sun which lights the space.

Elegant black sandals rest, not on his feet, but rather, near the couch by the wall to his right. Also present is the tension of a first meeting, as is a large bed with white sheets.

“Hansen. My name is Hansen,” I say, handing out my right hand in salutation. “…and this is Eben, our cameraman”, as Eben stretches a polite hand to shake the young man’s. A response comes: “nice to meet you,” accompanied by a slight smile.

We proceed to set up, Eben and I – mounting a tripod, and then a camera, assessing the best positions for light, unfolding and plugging in the ends of chords, opening a laptop…. “Can we draw the curtain?”, “would you kindly say a word or two, we’re testing the microphone…”

He obliges, his face lightening up altogether: “check -check, one–two one–two…testing microphone one-two one-two…hello…bahd guy in the building…”. Eben lifts a thumb. We’re ready!

The conversation is equal parts diplomatic, frank, revealing and humorous — for the young man shuffles between impeccable English and faux Yuroba enunciation which has endeared Africa to him, sidesplitting jokes and touching stories.

Rapper Falz (born Folarin Falana in Lagos) returns to Ghana barely a month after his talked about set at Empire’s Ghana Meets Naija Concert – not to perform, but to take in Accra’s ambience another time and admire the beautiful women who tread the shores of the city. Of course, a desire to further interact with his fans here, too.

Touted among the brightest performers on the night, he mounted the stage as one third of a formidable contingent of Nigerian acts for the occasion: the others being Tiwa Savage and Davido.

Fireworks and the arresting baritone of a gigantic hype man marked his entrée, and he did send patrons wild for the entirety of his performance. It was his first gig in the country, but he more than justified his inclusion on the sub-region’s biggest stage. Cloaked in all-black, and armed with a glowing catalogue and unmatched humor, he did mount his flag in spite of a certain M.anifest, or Shatta Wale (who led Ghana’s squad).

Touted among the brightest performers on the night, he mounted the stage as one third of a formidable contingent of Nigerian acts for the night: the others being Tiwa Savage and Davido.

“I definitely did not expect that kind of reaction, so for me, getting that was amazing…it was crazy for me”, he admits into this golden atmosphere “it was emotional, and being on the same stage with the likes of Davido, Shatta Wale, Tiwa Savage, M.anifest…it was big, it was extraordinary. That sort of response made me feel very happy.”

It is therefore no wonder he capped that trip on the historically relevant shores of Jamestown–Accra, shooting the video to his new single Jeje. “I like Ghana, you know?” he continues, beaming, “I really enjoy the ambience over here. Anytime I’m here, I feel at home. All my past videos have been shot in Nigeria…I hadn’t visited here before, so I thought: why not come here and do something nice?”

Beautifully rendered over highlife rhythm, Jeje was produced by Studio Magic, and is dazzling in its blend of Ghanaian and Nigerian vibes: the guitar arrangements, lingua, references, and general texture all feel like a melting point of melodies from both West-African settings.


Afrobeat, Afrobeats, and Ghana as “special ingredient”

Even as a rapper, Falz is a disciple of African music talisman and Afrobeat founder Fela Kuti. He declares this flagrantly in most interviews, and we often hear Fela’s presence in Falz’s music: My People, Workaholic, Jeje. There’s a distinction to be made though, between Fela’s Afrobeat, and contemporary Afrobeats. For one thing, Fela’s invention came without an “s”. Also, his songs arrived with extensive horn sessions, and possessed a thrilling danger, especially in how they left no prisoners as they addressed political ills, nationalism/imperialism, dynamics of international geopolitics and other social issues.

While modern Afrobeats may be homage to Fela, it is a significantly toned down version–sticking to the themes relating to love, leaving just a couple to attempt matters Fela spoke on, albeit in a less militant manner: Tekno’s Yawa, and Reekado Banks’ Change.

Falz understands this development, and is neither surprised nor bothered by the changing phase of the music: “Every sound evolves, and over the years, [even] hiphop today is not what it was years back. Afrobeat, since the time that Fela coined it, has definitely evolved into what it has become today, so for the fact that it has now almost gotten a new name, or an “s” has ben added to it…I don’t necessarily have a problem with it.”

Fela’s Afrobeat is clearly defined, but can the same be said of Afrobeats? Nearly every artist on the continent (even if they do reggae) wants to be associated with Afrobeats somehow. Because of this, the many varieties the continent spills with, have all been boxed under the label “Afrobeat”. Therefore, does Afrobeat suffer an identity crisis?

“It’s almost as though everything that comes out of Africa is now in that bracket [Afrobeats]. It’s a term that definitely describes majority of the sound that comes out of it [Africa], so it’s not necessarily wrong”, Falz (who says he doesn’t mind being labelled Afrobeat act) opines. At the same time, he nods to those who say that it is unfair to the many sounds Africa is known for:

“There are so many genres of music. Would you say that someone who’s probably doing Afro- soul, for example, or Afro-hiphop, and not necessarily pop music –would you say that they are also Afrobeat singers?”, he wonders.

Ultimately, he agrees that this is a conversation still ongoing.

In a related debate, colleague Mr. Eazi holds (not without enormous backlash) that Ghana has proven the special ingredient in the now global Afrobeats sound. Incorporation of Ghanaian melodies, and allusion to other elements as its foods and spices, names and places, etc might be essential to the formula of this new sub-genre, he believes. Widespread hits as Runtown’s Mad Over You, the entirety of Mr Eazi’s catalogue, and now, Falz’s Jeje are immediate reference points. Indeed, some theorize that the recent sonic lanes of Tekno and Davido (also major Afrobeats ambassadors) might be as a result of subtle impact from Ghanaian producer Juls.

Falz doesn’t exactly concur with this notion, pointing out that the Leg Over man’s view might arise from his close association to Ghana: Mr Eazi is even part-Ghanaian, and so Ghana is even in him already…”

“I don’t think you have to say something Ghana or make a desperate effort to be, you know, attached to Ghana”, he further stresses, “they [Runtown et al] do definitely [incorporate Ghanaian influences], but I don’t think they intentionally make that desperate effort to attach [Ghana]. I think it was just a vibe that they got. With artists, you get your inspiration everywhere…it’s not necessarily because you have to make a reference to Ghana.”


Humor merchant

Falz is mirth. The universe depends on him for that: through the Instagram skits which made him an internet sensation, or via his music/ accompanying visuals, or film roles. He has largely delivered, regularly dispatching music tailored for that purpose, starring in amusing roles, or coining the next social media catchphrase. Sometimes, this has come at great personal cost. For instance: in November 2013 which marks the verge of his big music break, his entourage was involved in a robbery/ accident which left his driver dead, and Femi, his manager (the tough dark man whose phone is constantly ringing), with among other things, a broken femur. He himself barely escaped with his life, and wears several scars as a result.

Falz is always one to squeeze lemonade from lemons. It is why today, when he shares the story, he can afford to smile, though he hastens to add that it was definitely not “a laughing matter” when it happened.

In the same way, the Soft Work man, 26, has more than recovered from a lukewarm reception of his 2014 debut “Wazup Guy”. Now among the continent’s most sought-after acts and prepping for the release of his third studio album, Falz has collected significant acclaim including a City People Entertainment Award, an AMVCA, and a BET.



Whenever Falz sits to grant an interview, he has to answer a question relating to chanteuse Simi. It is not for nothing: the two have regularly collaborated on music, and the result is always terrific. Speculation about them being romantically involved have become rampant, especially with the release of their joint 2016 EP Chemistry. A 7 –track project, it explores the musical harmony they have long cultivated (on collaborations as Simi’s Jamb Question and his Soldier), and a curious, widespread, never-ending expectation on them to be an item.

Verse one of the title tract to Chemistry (rendered by Simi) sings thus:

Everybody seems too think that we’ll be good together oh/ Everybody don dey talk say make you be my lover oh/ But they don’t even know if am your spec oh/I don’t even know if I take your breath away/ You don’t even know my wildest dreams/ Maybe it is all just chemistry…

For the listener who has followed the Chronicle of Simi & Falz, Simi’s navigation of the “conundrum”, via these lines (and through the chorus of the song) seem genuine. The entire EP feels that way –bare conversations between two people who are meant to be.

Falz has continually named Simi as his “musical soul mate” and nothing more.  Still, how true is the song Chemistry, and by extension, the entire EP?

“With the entire collaborative album, we wanted to achieve –we wanted people to see artistic brilliance. We wanted people to visualize every single song on the album, and everything was very visual. And listening to the song [Chemistry], you can see the story. I’m a storyteller, and I met someone else that is exactly that, and does it in a unique way, and so it blended very well.”

“It was a work of art. It was coming from a completely artistic view –not necessarily personal”, he closes his argument, before demanding amidst his own laughter, that we “crozz out” the assertion that it was entirely personal.



No ID and Jay-Z, Don Jazzy and D-Banj, Juls and Mr Eazi, Quincy Jones and Michael Jackson, Beatz Dakay and Stonebwoy. These are partnerships that have birthed iconic results. Sess and Falz, because of what masterpieces they have created together, and how frequently they have done it, add to the list.

“Sess is my musical sibling. He’s my musical brodah. Iss as dough we are in the same family. We do reason on the same waving length. We do compose music on the same realm. Are you getting me? Dat-Zit!”


Forthcoming album

Once a new Falz joint drops, we think we know what to expect: a simple chorus usually rapped, not sung, instrumentation is stripped down, his signature “azzent” is prominent. While these constitute the Falz factor, there also accompanies the music, “an helement of surprise, an helement of waawooh”. An unforced versatility has led him to experiment with anything from Juju to Jazz, and an inability to specify his brand of music. So, like Fela did with Afrobeat, he too has coined a label of his own: Wazup Music, which is not a single sound, but an amalgamation of influences.

“ I can turn to the left today, tomorrow, I turn to the right. Varsatility and be heybo toh miz everything hop…daz what Wazup muzik is about”

Falz’s third studio album is set for release this year. Already, it has birthed blistering singles aside Jeje: Weidone Sah, Baby Boy. It is evident that he is flipping his template, tapping into deeper depths sonically. For our own sakes, he cautions to not “expect anything, because if you expect something, you’ll be surprised. We’re always looking to surprise.

Knowing Falz, this new body of work contains a lot of fire for sure. After all he’s proven to be “that guy that shows that versatility”. It is he who brings “that uniqueness…that flavour”.

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PEP JUNIA: Stop the hypocrisy…give ZYLOFON a break!



I was taken aback when Ghanaian social media was set agog in the wake of news that Stonebwoy and other stars had signed onto Zylofon Media.

While a cross-section of the public was happy for him, others spelt out doom for both artist and the record label.

Entertainment pundits on radio and TV…even writers who have mentored me in my short career all prophesied a grim future for the media organization.


Why are Ghanaians spelling doom for Zylofon?

 Precedent is what many will attribute as  reason for their cynicism for the Nana Appiah Mensah -led organisation, the once vibrant  Mudhaus being the major reference point. S I ask: who caused it?

Was it the owners of the company or industry players? Was greed on the part of some industry players what  led to the collapse of that company?

For years, the same pundits and critics who are spelling doom for Zylofon were the same people who lamented across various platforms about the lack of investment in  the creative sector.

Indeed, a prominent posture many hold in this town (albeit infantile) is that handlers of Zylofon are  extremely rich, and have entered the creative arts terrain for the sole purpose of  “splashing money around”. Media empire EIB Network also underwent widespread backlash when they began assembling high-profile broadcasters for their lead radio station Starr FM. Thankfully, and to the shock of the many critics, the station remains one of the most listened radio station in Ghana years down the line.

Let me not divert the same but move on to the substance of the article: Zylofon Media, since its launch, has chalked remarkable success, like it or not. The outfit, for the first time partnered Fred Nuamah’s Ghana Movie Awards (which were on the verge of collapsing after it witnessed successive poorly organised editions). Zylofon, without doubt, resurrected the scheme once they came onboard. A new vitality was witnessed right from the launch to the nominees’ announcement, and then the event proper.

They successfully hosted stakeholders in the film industry in discussions aimed at progressing the field.


Can Zylofon prove the doubting Thomases wrong?

By all means. Zylofon can prove the doubters wrong if they have a plan. Nana Appiah Mensah has, on several occasions, reiterated to the media that the organisation is operating with a solid blueprint.

P.R.O Samuel Atoubi Baah (Sammy Flex) has also continually tried to dispell the notion that the company doesn’t know what it’s about, but trust colleague media houses to always find a way  of framing  stories  to favour their listeners or win favour from the public.

I was distraught days ago, I read in a newspaper about a comment made by one artist manager that Highlife artiste Kumi Guitar can never be profitable for the organisation. Yet, this is the same man who has been crying that ARSOG has refused to pay him his royalties and he has never successfully managed an artist.


DJs and Presenters must also help

Years ago, while working for the now defunct X FM, I remember that the outfit was firm on the agenda of promote young and upcoming talents at no cost.

During the presser to unveil Stonebwoy on the company’s label, Adom FM presenter Mike 2, raised the question on why Kumi Guitar’s songs are not on regular rotation on domestic radio. This is plain laughable. It is common knowledge that many presenters demand money before playing an artist’s song –a very shameful practice which required a concerted effort by the industry to nip in the bud. It stifles creativity, and hides from our eyes and ears, great talent.

The country, and indeed, the whole of Africa has proven an indispensable hub of creative genius. Everybody else just takes from our culture. Why not encourage each other to build our industries to become global players.

What Zylofon is doing is this: they’re spearheading a revolution. You may not like Zylofon’s approach, and that is totally understandable. It is a common feature of all groundbreaking occurrences. Again, we all neither think the same way, nor possess the same solutions to a puzzle…diversity is where all beauty stems from. But why don’t we at least give them a chance to prove their worth?

It is in our own interest to see Zylofon (and other such outfits) succeed, for when they shine, it invariably affects us all. A word to the wise…


*NOTE: Zylofon is now the franchise owner of the Ghana Movie Awards












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