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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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A Queen’s demise, a country’s LOSS…. She is our Ebony & SHE Reigns – OBITUARY



A strong wind, arcane and symbolic, wafts past the Dansoman family house of a celebrated young chanteuse. That very second, an identical scene is recorded in a Sunyani compound where the music star has gone to pay her mother a surprise visit. Especially in that Sunyani compound, it is immediately interpreted as evidence of a queen’s presence. They are not wrong. This specific air has so much regal attribution.

As the entire nation will learn days later, this breeze not only announces an arrival, but also signifies exit — an exodus that will take decades to properly grasp.

An Ohemaa, at the very crest of her rule, returns home. But this is no ordinary Ohemaa. She has specifically been picked out by Oboade, in whose hands we’re all pencils, and so this Ohemaa will not be forgotten.

This Ohemaa’s reign endures.


An excellent Obed Boafo review of Ebony’s music, published in April 2017, opens thus: “Ebony Reigns (Priscilla Opoku – Kwarteng) possesses an admirable singing quality that takes years to manage…For a young lady who only set off professionally in May of 2015, it is an enviable feat by a decent stretch”.

Elsewhere, in a subsequent piece digesting Maame Hwɛ, the singer’s December 2017 offering addressing domestic abuse, which would also turn out to be her swan song, Boafo reiterates: “Ebony’s talent is pure. It rests peacefully in a young lady whose patterns of stitched bravado and decisive artistic flexibility is causing so much pain to hostile souls, who are yet to come to terms with the fact that she is what they failed to achieve in their 20s”.

Fondly referred to as the “90s bad gyal”, Ebony’s ascent to Ghanaian music royalty has been both astonishingly rapid and iconic –the fastest in recent history. Without question, she figured this industry out like no other, and for years to come, her striking artistry and fearless passion will serve as template for upcoming talent.

She had become a “bonyfied” megastar!

And so, when on the morning of Friday February 9, news started making rounds on social media about her death in a fatal crash the night before, and exactly a week to her 21st birthday, it was not something anyone was ready or capable enough to stomach. The whole idea seemed far-fetched. Impossible! Ebony, who’s highly-tipped to win VGMA Artist of the Year in April? Who is scheduled to begin her Europe tour the next day? Impossible!

“I had her goddamn visa in my room”, her distraught dad, Nana Poku Kwarteng said, confirming the news to local media at his Dansoman residence. “She was gonna tour Europe for the first time on the 10th – Belgium, Italy, Denmark, you name it”.

“By all accounts, she had a very promising career”, said Ghana’s president, Nana Akufo Addo of Ebony’s prospects. Similar pronouncements came from all corners of the country; fans and colleagues alike; from within showbiz and without. MUSIGA president, Bice Osei Kuffour, labelled her Ghana’s answer to pop icon Beyoncé, while ex- president John Mahama deemed her a “talented life cut short”.

Of course! Credited with multiple hit songs, and the well-received BONYFIED debut (December 2017), the bubbly songstress towered over many mainstream acts even at such a young age. In the particularly male-dominated and combative terrain of dancehall, which has also been at the forefront of Ghanaian sounds in the last five years, particularly through the efforts of titans Shatta Wale and Stonebwoy, Ebony established herself as a ferocious third force; a true powerhouse executing her reign with sass and elegant liberty that, it forced her contemporaries to stay on the very tips of their toes. And she did this largely without the help of a major name. She needed none! By herself, she commanded enough attention.

Her sonic brilliance didn’t remain in the Caribbean genre. Craftily, and with majority of her submissions last year, she also made a significant case for herself as a goddess in other genres, especially highlife. Few highlife submissions published in 2017 have genuinely matched the sensation of Poison, Sponsor, Date Ur Fada. Or Maame Hwɛ. Unrestrained, Ebony went where her heart wanted. And she was sure to leave a mark.

Remarkably, just two years in the industry, she became so pivotal that, her songs became springboards for upcoming talent. Franchise act of RuffTown Records, the Ricky Nana Agyemang –led imprint which also now houses producer Danny Beatz, Brella, and Ms. Forson, Ebony would serve as gateway for the other names at the label, and via collaborations with them, guide them to the mainstream.

Ebony also held the fort for the female musician today –more fiercely than has ever been the case in remembered history –and this is in an environment which is generally unfavorable for the female act. What then truly facilitated her meteoric rise over such a brief period. How had she become a phenomenon this quickly, habitually sweeping awards and proving lord over the stadium crowd as well as the intimate corporate audience? Author Obed Boafo observes the following:

“Consistently, the winning module for Ebony is the song writing that serves a fitting guide to her compositions. It has been the most visible part of her 2017 releases, and readily shows how much of an investment (time) has gone into ensuring that she stays relevant. A stronger testament of what two worlds of song writing does to a young soul’s delivery, there are traces of Bullet, label head at Ruff Town, who is doing an impressive work co-penning/penning some of the priceless songs they have both gone to market with. Bullet (Ricky Nana Agyemang) is an old cat with an astonishing sense of how to make hit songs. His glorious days with the duo Ruff & Smooth churned a lot of anthems that went on the same path Ebony is enjoying now. His song writing credentials are broad and all over the local music scene, Nana Yaa, Pat Thomas’ daughter, a recent beneficiary. Ebony has the complete song writing effort at Ruff Town/Midas Touch Inc. to thank but it is how she also renders the songs in-studio and in front of thousands such as at her recent solo concert in the national capital, Accra, that brings out the stunning artistic beast in her. They are new every morning.”

According to her team, this year would have seen Ebony grow into a truly consummate act, having wrestled the spotlight from the music Mugabes. A key aspect of her team’s strategy coming in, aside the clever penmanship of her songs, was to leverage her unique her salacious temerity, and then, having captured the people’s heart, turn it in which direction they please. They were on course.

But in a society excessively consumed by religion, its citizens are unable to dichotomize between art and real life. And so, for as long as she practiced her craft, Ebony was faced with abundant criticism regarding her costume choices, for instance. Yet, as should be the posture of everyone pursuing their true purpose, the singer was unruffled, and marched on with brazen focus. This confidence, partly founded in her own father’s solid confidence in her gifts, rapidly made her number 1.

Around here, what is the evidence that an artist has truly arrived? She must host thousands in their own show. Only a handful have achieved this in the past decade or so: Sarkodie et al.  The numbers that Ebony attracted to the West Hills Mall on December 9, at her “Bonyfied Soloku Concert” outdooring her first album, remain to be matched –and this is despite a heavy downpour which delayed the programme for hours.

Perhaps, her most important contribution, was serving as a source of inspiration for young girls across the breadth of this country. The singer enjoyed overwhelming popularity among the younger folk, especially girls, and was regarded as role model by an entire generation. This is perhaps, witnessed most vehemently in Maame Hwɛ. Her iconic headscarf is now a permanent fashion complement among teenage girls –“Ebony Duku”, it is now called. A cultural phenom, her influence transcended demographics. It is why she’s a true national asset. But a person’s impact is really measured by how much they affect legacy. The sight of pupils at the SOS Children’s Village (Kumasi) singing happily, their own version of Maame Hwɛ, into the camera of a smartphone held high, not only induces goose bumps and wistful tears, but is also sobering testimony of her bona fide place among future generations.

Ebony reigns forever! She died a legend. Braving a labyrinth of hurdles, she stirred the industry in a way that is unprecedented. When flak came her way, she utilized it as fuel, and soared like an eagle. In her own way, she democratized the space, and made true believers of skeptics.

Even while in the great beyond, she carries on her supremacy. Scenes from the ceremony commemorating one week of her passing, held February 18, corroborate this. Held at the St. Martin De Porres School in Dansoman, the event might as well have been held at a stadium, for it attracted droves. Ghanaian showbiz was well-represented, and the atmosphere, charged with love and grief, reflected what a true heroine she was.


Elsewhere in the city, the clouds wear a pregnant look all day, ready to begin the process of welcoming into her heights, a young soul who flirted with success and ended up writing yet one of the most important stories of the Ghanaian arts and entertainment industry. And as she makes the final stretch home this weekend, a life lived on her own terms will begin to fade away into eternal beauty. What holds on the other side is uncertain. Down here however, the cycle will search for another Priscilla Opoku Kwarteng to little success. Because she is Ebony, she enjoys an endless reign. Even in death.

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Throughout the YEARS: A Sarkcessful rap King still Living a Dream



Sarkodie belongs to an elite group from the continent who have proven doyens across multiple genres. Thus, while he is considered a hip-hop god, he is perceived in a similar light within Afrobeats circles. Seamlessly, he moves from rap, to pop, and back; dance-ready music with Runtown, followed by a hard-hitting partnership with Jayso and Big Narstie.

The SarkCess man’s adaptability to rhythm, coupled with the fact that he ranks among the most decorated performers from these parts, have secured him constant presence in debates pertaining to true greats of his generation. In a terrain dominated by Nigeria, and South Africa to an extent, the rapper (born Michael Owusu Addo), has on numerous occasions, defiantly and single-handedly, kept the Ghana flag high, and made an important case for art from the West African nation.

Over five albums and with smooth charm, Sarkodie has cemented his place as Ghana’s most influential rapper in this new millennium, but does this reputation extend to the rest of the continent?

Is Sark the greatest African rapper now working?

While there may not be a straightforward answer to this question (because of the likes of MI, Nasty C, Nyovest, Olamide, AKA, Kaligraph Jones et al), it is hardly erroneous to include Sarkodie in any “Top 5” list worthy of the name.

Choosing to rap in his native Twi (periodically augmenting it with English and/or Pidgin), Sarkodie has constantly fashioned memorable auditory experiences employing a brisk, engaging flow. When he first began, it was feared, despite numerous precedents, and the overall perception of music as a “universal language”, that Twi would prove a disadvantage for him. But staunch support from the diaspora, and the world’s inquisitive palette toward Afrobeats (via Ghanaian sub-genre Azonto, which Sarkodie is pioneer of), ensured that he became a bona fide superstar.  Really, no other rapper has affected modern African rhythm quite like Sarkodie has –Wizkid, Tekno, Mr Eazi, and Davido’s contributions have arrived through singing; Juls, Masterkraft, and Legendury Beatz achieved it playing beats. This is a key component that sets the “U Go Kill Me” man apart from his contemporaries.

KINGS! Sarkodie poses with MI ABAGA backstage a recent award ceremony. Credit: Instagram/ SARKODIE

In his polemic 2017 offering, “You Rappers Should Fix Up Your Lives”, MI courted flak for suggesting that African hip-hop was now –being dictated by South Africa. Music debates around here tend to be very political, and assertions like MI’s quickly fester rivalry like you would find among siblings, and so, whether it is deeply-founded in fact or not, it is not something everybody would readily accept.

Not long after filling up the FNB stadium (Soweto) in a historic hip-hop concert, South African colleague and fellow contender for the accolade of “greatest African rapper today”, divulged observations that corroborate the MI’s argument on “You Rappers Should Fix Up Your Lives”. Within those statements which ultimately saw him discuss the state of hip-hop on the continent, he also acknowledged Sarkodie’s excellence.

“South African Hip-hop is in the forefront of African Hip-hop in general. It might not be as popular as it is in South Africa in Nigeria. But I know for a fact that rappers from Nigeria are kinda unknown in SA, he told in an interview. “If we talk about crossing over, I know that a lot of people in Nigeria know about my music. I know that in Kenya and Ghana, it’s the same thing.

“I’m not just talking about me; I’m talking about a movement. Sarkodie is big in Ghana, but are there other rappers who are as big as Sarkodie from Ghana? The South African hip-hop movement is big across, also in London, New York…we are out there performing in different countries”.

Sarkodie and Cassper Nyovest. Image: Instagram/ SARKODIE

Now, when an act who has drawn crowds of nearly 70, 000 in a hip-hop show –not Afropop –makes such a pronouncement, it must be taken seriously. And his point is valid to a point. As a collective, South African acts generally do hold the fort today, followed by Nigeria.

Cassper’s also right when he suggests that Sarkodie lead’s Ghanaian hip-hop by a decent stretch. With over 60 local and international awards in his cabinet, the Tema native also stands as among Africa’s most decorated hip-hop performer. Indeed, in an October 2017 tweet reacting to Sarkodie’s list of laurels (consisting honours from the Vodafone Ghana Music Awards, BET Awards, MOBO Awards, EMYs, MAMAs, AFRIMMAs among others), Cassper deems Sarkodie’s feats “inspiring”. Similar messages have come from English Grime act, Stormzy, for instance. “Legend in this ting”, he acknowledges. Despite clear dominance by South Africa and Nigeria as premium hip-hop nations, Sarkodie’s efforts have raised Ghana as an impressive third force.

For the school that holds that Sark is the greatest African to do it yet, it is rooted in something more than mere fanatic exuberance. In Ghana, the distance he gives other hip-hop acts is so glaring, it makes little sense to contest it. Most rap acts in this town pale against his brand in terms of catalogue, consistency, and overall craft. Of course, all this has culminated in the fact that he has remained default nominee for the coveted Artist of the Year category at the Ghana Music Awards for the greater part of a decade.

An impartial comparison of Sarkodie and say, Olamide, would prove that the former has made more pronounced inroads with an indigenous language. “Rendezvous’, MI Abaga’s latest project, could be the most influential hip-hop work published by a Nigerian this year, without doubt. But really, that’s it. Much of the glory MI Abaga enjoys currently is as a result of previous work. And so truthfully, Sarkodie occupies today, the level that MI used to be at. Of course, that is not to take anything away from Mr. Abaga’s place as African legend. Cassper’s milestones are as a result of the efficient infrastructure that South Africa boasts of, still, he’s not as popular, frankly.  There’s no question about Khaligraph’s mettle as lyricist, only, he’s too obscure.

This very moment, Sarkodie does stand tall among his peers on the continent. It may not be by such a stretch as is being witnessed in relation to his Ghanaian colleagues, but he is the highest. Consistency and an unflinching dedication to game plan that actually works, have proven this. Posterity will too.







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IT IS MIDDAY in Accra, THIS IS Kweku Obeng Adjei on Starr 103.5 FM



Starr 103.5 FM, Meridian House – Accra

It’s a minute to midday. Dark and muscly, Kweku Obeng Adjei struts briskly from the Komla Dumor newsroom into the studio across, a Lenovo laptop in his sturdy hand, an expression on his face which spells strictly, business.  He’s shadowed by a petite young lady of similar complexion. As they enter the studio, colleague broadcaster Kofi Okyere Darko, has just wrapped up his duties on mid-morning show “The Zone” and is on his way out.

A giant table occupies the center of the room. On it rests an iconic console whose channel faders are regularly caressed by on-air titans Bola Ray, Francis Abban, Giovanni & Berla Mundi, Jon Germain, Nii Aryee Tagoe among others. Black microphones, and swivel chairs surround the desk, and the day’s major newspapers rest on a small cabinet in the back. On a muted flat screen TV on the wall behind the glass door, an Al-Jazeera documentary is showing.

Kweku settles in the chair behind the console, from where he is faced directly by one of the microphones, three computer monitors, and a wide section of Ghana’s capital, who will be at the end of his voice in seconds. He sets the Lenovo down, beside the console, and begins to whisper something as he stares at the screen. The lady with whom he has just entered, offering production assistance, also sets up by his side. Suddenly, the familiar jingle announcing the Starr Midday News is heard in speakers in the top corners of the room. The news is live.

For the next half-hour, Accra and beyond, will be equipped with the very latest news items across governance, business, international happenings, and sports.

Classily attired in a chequered long-sleeved shirt, Kweku radiates the calm charisma of one truly in charge, his eyes darting about purposefully in this high-pressure enterprise, squinting at the screen of the Lenovo, working channel faders on the console, monitoring the fleeting hands on the wall clock, nodding for a voice clip to be played, whispering instruction to Ms. Petite, or taking feedback from behind the glass window to this left, bracing for an interview, mouthing the next story…

“I’ve always known that radio was going to be my thing”, says Kweku in his signature gentle manner, recounting how, as far back as his primary school days at John Teye Memorial, he has exhibited traits of broadcasting. This desire to utilize his voice even that young, led him to join such groups as the arts and debate clubs. Today, his old classmates aren’t surprised by his exploits, as hearing his voice invokes fond memories of the Class 5 pupil who once voiced a radio promo for his school’s anniversary celebration.

Possessing a soothing sleekness in a way that entrances you, Kweku’s voice is literally music to the ear. It is textured in a such a smooth tone and smooth inflections that everything it utters is instantly convincing. And as is the consequence of dedicating one’s self to radio, the voice is more popular that the person himself. He knows all about it, and has seemingly even made peace with it: “a lot of people don’t know my face but know my voice. Because I’ve been to places where, once I open my mouth and I’m talking, people then know and are able to relate, and even mention my name”.

For as long as Starr FM has been in existence (since 2014), Kweku Obeng Adjei has manned the afternoon bulletin. With a voice designed for radio, a superior interview technique, and an overall professional edge, he has earned an unquestionable spot among the nation’s top -notch anchors. Further testament: last year, he was adjudged Best Newscaster of the Year (English Language) at the Radio and Television Personality (RTP) Awards, and has been nominated on a number of other occasions. This year, due to how effectively he has maintained his steam, he may well retain it.

Obeng Adjei poses with EC Chairperson, Charlotte Osei, after an interview.

Owned by the Bola Ray – led EIB Network, Starr FM towers high in the media terrain. In order to maintain this rank, people like Kweku must remain on top of their game at all times. There is no room for mistakes, as the company risks a dip in ratings as a result. This is where trusted voices as his come into play. Master of the mic, Kweku’s many years of experience, starting from Radio Univers, through Joy FM, Choice FM, and then Power FM (which is now Starr), have purged him of the kind of pressure which accompanies this job.

“It’s just about doing what you have to do, and ensuring that you’re applying all the the skills and ethics of the profession. So for instance, if you’re do interviews, you have to ensure that you have information about what you’re going to be talking about. You must also know who you’re going to be interviewing, because you don’t wan to go on air and mess up. So there isn’t much pressure, but, of course, you must be on alert, because you never know what can be thrown at you” he posits. He can afford to say that now, because of how many years of professional service he has chalked. In addition, the brands which he has been associated with in the past, have built in him the confidence of a veteran.

“Because of competition and who may be on air around the same time you do the bulletin, you must always ensure that your presentation is apt and on-point, and you have all the big stories on your plate. For me in particular, I have worked with some of these competitive stations so I know how their bulletins are prepared, I know how the presentation is done. But of course, currently with Starr FM, I always focus on what I’m supposed to do to ensure that my brand is leading, and a choice for many”, he adds.

A reliable hand, Kweku not only runs the midday bulletin, but also produces a number of other programmes, sits in for other OAPs from time to time, and is a mentor to burgeoning broadcasters. His work culture is remarkable, and his contribution to modern Ghanaian radio, is just as noteworthy. Still, many hold that he doesn’t get as much credit for his efforts…that he may even be underrated.

But the broadcaster disagrees, stressing that he is acclaimed in the industry — where it matters: “I don’t think I’ve been underrated. I know my stuff. I have worked at great places, and at all these places, I have been able to deliver”.

During commercial break, an editor appears by the door: “let’s do something on Togo”. He vanishes almost as suddenly as he appears. A lady walks in and hands in a piece of paper with information hastily scribbled on it. Sports anchor Dennis Mepouri walks in to present the sports, and then rushes back to the newsroom, which is engrossed in usual seriousness; eyeballs staring keenly at the screens of computers, fingers tapping away on keyboards, assignments being written on a nearby white board. Named after Ghanaian broadcasting icon Komla Dumor (formerly of the BBC), the hall is home to many of the country’s brightest young journalists, who hope to follow in the steps of the late Dumor.

Like many newsreaders in this town, Kweku cites Dumor among his idols (alongside Matilda Asante, who gave him his first real break at Joy, Tommy Annang Forson, and mogul and boss Bola Ray, whom he also now considers a brother and friend), admitting that even today, he occasionally resorts to Komla’s old videos to, among other things, “relive and learn”.

Obeng Adjei’s relationship with Bola Ray has even earned him the nickname ‘Deputy CEO’ amongst a section of his peers.

“We all don’t know why he had to leave that early”, says Kweku after a pensive pause, “but Komla was a symbol on the way that, if you wanted to be a journalist …if you wanted to build a standard or class for yourself, you’d look up to him, and I think that his values, his ethics, [and] the zeal with which he performed his duties professionally, encouraged most of us to give this profession all our hope and all our energy.

“Through studying Komla, we realized that journalism is very powerful. I mean, you had the mic to make and unmake, to impact lives, to straighten issues, and to hold people accountable”.

Though he worked at Joy FM, Kweku never got to work with Komla Dumor, as he was on his way to the BBC at the time. Nevertheless, Kweku regularly picked up a thing or two from him, often tuning in to the BBC in anticipation of Komla’s unmistakable smile.

To Kweku, Joy FM proved an impactful grooming platform, where he learned to read the news, conduct interviews, package stories to make an impact. At the Kwesi Twum- owned establishment, Kweku also learned key nuggets as patience, enduring frustrations, and navigating egos –all elements that have steeled him up as a formidable professional. At Starr FM, he has certainly blossomed into a real star!

As far as classic men go, Kweku cannot be overlooked. Always dapper in a blazer or crisp African print, the radio gem also stands among truly well-dressed men in these parts. Radio or not, Kweku believes that elegant dressing (which he picked up from boarding school days, and by associating with sharply-dressed colleagues/ friends) does something to one’s own confidence, and inadvertently influences output.

Behind these microphones, thirty minutes pass very fast, and every second counts. But when you have executed the bulletin as well as Kweku has just done, you too can afford a habitual calm sigh of accomplishment like he’s just breathed.

He makes his way back to the Komla Dumor Newsroom, slightly more relaxed than he came in …Lenovo in hand, and Ms Petite following. A mountain of work still awaits on his desk in the newsroom, as is a rice dish which will be consumed quickly, and out of necessity. A journalist has no rest.

*Born in Accra, and husband to “Pretty Anita”, Kweku is alumnus of Mfantsipim, NIIT, the University of Ghana, and the Ghana Institute of Journalism.  


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Charisma, Talent and an absolute beauty that is so SENA, so DAGADU – AN EXCLUSIVE INTERVIEW



Saturday January 27. Breakthrough Studios, Tesano – Accra.

It is not surprising that Sena Dagadu answers my hello in Pidgin – it is normal about her speech, if you’ve followed her — but it still catches me off-guard, pleasantly so, too. “Wosop! Ebi you be the Enews guy ɛh”? Her smile is sunny, and her handshake, warm. “Yeah”, I return her smile, and swallow what is left of my introduction.

She has just walked off one of three sets in this large first-floor space that houses Pascal AKA’s Breakthrough Studios. In a hall buzzing with constant movement and exchange, she stands out, glorious in colour and charisma. On her jumpsuit are black spots evocative of a jungle cat, and she wears a large yellow scarf over her shoulder. Cowries hang from her dreadlocks, and the gigantic ethnic neckpiece around her neck reaches down to her belly.

Sena DAGADU on the set of her new video. Image: Eben Yanks/ ENEWSGH

“Amake busy small, so adey come”, she says with regret in her eyes, points me to an orange plastic chair, and then rushes back onset. Her first name, screams across the wall behind her in bold green graffiti. There’s a crown on the “E” in “Sena”, and down at the base of the wall, are the words “scare crow”, “Sark”, “original”, “Yo Chale!”, and “Let’s get kickin”. They’re not as big as “Sena”, but they’re legible enough. She nods steadily to heavy drum kicks of the track that now fills the room, and mimes into the video camera swinging to and from her, her face exuding funk and attitude. Directly opposite this first set is a cage sprawling with electrical cables, and fluorescent light. It is where Sarkodie will perform when he arrives in a few minutes. The third set, to Sena’s left, fascinates me immensely –not only is it alive with orange and white patterns (and everything on it; sunglasses, a vase, the sofa, boxes), but assumes a different hue under artificial light. Female dancers are practicing over here, their male counterparts are summersaulting over there, makeup is being dabbed on eager faces, sweat is being wiped off soaked necks, in spite of a big standing fan swaying its head this way, and that way. A creative mess – that is what this is. It is all being steered by AKA, who instructs gently from his seat, or storms up suddenly, bouncing like a hip-hop act, to ginger Sena on. This will go on, I am told, till tomorrow morning.

The bubbly Ghanaian-Hungarian musician, is as hands–on as Pascal himself (who currently ranks among the most influential video directors from these parts), suggesting ideas and angles, joining the crew behind the camera to review shots. “I don’t like not knowing what’s going on”, she divulges to me, when we finally settle in her make-shift dressing room to the back for the chat. She opens a pack containing her lunch, and takes two bites of the chicken on the rice meal, and then packs it away again. She wipes her lips and fingers with tissue, and offers me her full attention.

Sena DAGADU on the set of her new video. Image: Facebook/ SENA

Sena is seldom without a smile: in music videos, during interviews, at concerts, or in pictures, a lasting smile inhabits her lush cheeks and fearless eyes. It is virtually unimaginable to describe her person without listing her smile. Still, when I point out what I think is a pretty obvious relationship between her face and a smile, she is stunned. “Really?”, she asks, an extra tickle in the pitch of her voice, and then laughs. A realization hits her almost instantly nonetheless, about the the fact of my observation: “for one thing, it makes me feel good”, she admits. “I don’t like being angry, I don’t like being upset, I don’t like confrontation, and fights, and things like that…When I see people and they smile at me, it makes me feel good”.

“My normal face is a happy face. It has to be an extreme situation that makes me change my face…maybe concentrating or something like that, but in general, I’m a happy person. I like the things that I do, I enjoy the company of my family and my friends, and I think that it would be as if I’m ungrateful for my life if I don’t smile, so I just try to, you know, make myself and everybody else around me feel better about themselves by giving them a little smile”, she explains further.

I toss another word at her -another noun I think truly encapsulates her character: colour. When she moves, Sena oozes a vibrancy that invigorates everyone and everything around. This word too, ignites a sparkle in the sides of her eyes. “Colour”, she repeats the word, but with the peculiar island inflection that cuddles the “r” at the end. “Without colour, everything will be so dull!”, she emphasizes, stretching “dull” so playfully, even I can’t hold back a chuckle. She continues: “I love colour. I wear, actually, a lot of black, but then, even when I do that, I always have something that will pop a little bit of colour –whether it is lipstick or eye-shadow, or jewellery, or something like that.

“The world is filled with colour: the rainbow, green grass, laterite soil, the sky, you know…everything. It’s the same as the smile. It makes life not just more bearable [but] more interesting, more exciting…I like fashion as well, so, colour coordinating; what goes with what…it’s just fun, you know? Colour is like smiles – it’s just fun.”


Because Sena navigates, and excels across multiple genres, she has come to represent variety. Since the start of her career in 2001, whether by herself, or as member of the Hungarian collective, Irie Mafia, she has combined influences from hip-hop, reggae, funk, rock, EDM, soul, jazz, Afrobeats, etc. This rich versatility, she attributes to her lack of “patience”:

“I’m not exactly your most patient kind of character. I do have patience when I have a goal I want to achieve –I can wait for years for it to happen. But in general, I like excitement. I don’t like being dull…if I do something today, I don’t want to do the same thing tomorrow. In my music as well, that, kind of, has a certain play. I like to change my musical styles, even the people that I’m working with, you know, test myself and try different grounds that I haven’t tried before…try to push my boundaries a little bit further. So variety, for me, is normal. It’s like…one you’ve tried something…I might come back to it, but I like to, you know, go across the palette and see what else I can do before I go back to the ones that I’ve tried”.

Ultimately, “World Music” is the umbrella I conclude best encapsulates her craft, because she dabbles in everything. “To be very honest with you, it is very difficult to say that I’m belonging to one genre or not”, she stresses bluntly, “–so I like how you said World Music”.

And when I tease that, as is the case of human families, she might have a favourite son namely, reggae, because of the air of freedom that her music arrives in, she quickly refutes it: “I don’t have a favourite child, and it depends on my mood. Some days, maybe I’ll be driving in town, and the only thing I’ll be listening to on the radio is reggae. Sometimes too, I’ll be very calm by listening to some Classical music, and I can’t listen to, you know, electronic music… It depends. That’s the beauty about music. Every music has its day, every music has its mood and the reason why it was created

“[As] artists, you try to capture a moment in your life and a kind of vibrant frequency, and then that music represents that…and you can’t have the same vibration when you are in a different mind frame. That is why I listen to a lot of kinds of music, because everyday is a different style, everyday is a different feeing in your soul. So maybe, today, I like my hip-hop son, the day after, I go like ma Classical daughter, I go feel ma Jazz niece, and so on and so forth. I don’t have any favourite, I like all kinds of music”.

Still, what is the sonic direction on her new project? I am inclined to ask. It’s going to be different, of course, but it’s not a difference she hasn’t already explored previously, and sees her explore new depths to her creativity: “Since my last album, I started to push myself. Like I said, I like to push my boundaries in production. So I wrote the songs on my last album –and the new stuff that we’re working on –for example, the song that we’re shooting a video to here –are also beats that I produced for myself, so it’s like a new thing that I’m doing, but it’s an old style of music that I’ve always liked – hip-hop…kind of popular music, with a little bit of some Sena eccentricity inside. Because I write the music and the lyrics myself, I’m starting to get a certain character which is my own”. This new sound is hip-hop, but a liberal kind: “I’ll not label it strictly hip-hop, you know, but it’s got elements of that – it’s electronic music, so you’ve got all those hard kicks and, you know, regular 4/8 patterns and 12- bar verses and things like that. So I’m kind of going into this now, but then again, testing my own strength in production and beat making and things like that. So it’s a new exciting thing for me to do, actually”, she tells me.

Another word: Difference. Whereas she constantly dabbles in a variety of melodies, it is nothing like you’ve heard before; how she articulately rides (and marries various rhythms), via Pidgin, English, Patois, and Hungarian –an alternative.

“I guess so”, Sena concurs. “I try not to follow trends for the sake of following trends…I do try to present an alternative to what everybody else is doing by being myself, because there’s nobody in the world like me –there’s only one pɛ.

“Nothing is one-way. If you search, you’ll find; so I try to be part of that crew that presents an alternative.”

Sena’s collaborations in Ghana, over the years, have stayed within a small circle: Reggie Rockstone and VVIP, FOKN Bois M3nsa and Wanlov Da Kuborlor, Worlasi… Most recently, these partnerships have birthed acclaimed joints as “One Life”, and “Skolom”. She reveals though, that she is expanding that list, starting with this new album. Aside Sarkodie, the likes of EL, and Pappy Kojo are both to be expected on the project.

Worlasi, easily Sena’s favourite Ghanaian act currently, makes an appearance in this video though he’s not on the record. In one scene, he sprays a can of graffiti at the RED camera through a glass wall. In another, he joins her in ecstatic bounce. She has often declared her admiration for the “Nukata” man right from when he first launched a body of work. The result of their first partnership (Worlasi’s instructive April 2016 joint, “One Life”), without question, sparked a beautiful artistic relationship, which will guarantee more songs from them in the near future.

In one scene, Worlasi sprays a can of graffiti at the RED camera through a glass wall. In another, he joins her in ecstatic bounce. IMAGE: Eben Yanks/ ENEWSGH

A mutual admiration continues to blossom between them, and Worlasi’s recent recent EP, “Outerlane”, has made things even better:

“The EP I last soak, and really really enjoy, was Worlasi’s Outerlane. It freaked me out. It just completely freaked me out. I was humbled by his artistry, and I gained a whole level of respect for such a young talented artisan in today’s world”.

Consisting 9 songs, the project, like anything he has published over his young glowing career, is both highly unconventional, and widely-praised.

“I was weaked [sic] by his last EP”, Sena reiterates playfully.

Anyway, more words: truth, modesty, knowledge. “I like the fact that you think I represent those things because they’re things that I do strive for”.

On truth, she’s true: “I always try to be true to myself, especially. I do not try to compromise myself. I’ll not do something that I’ll not feel comfortable with – and I try to write my lyrics honestly –experiences that I’ve had, or thoughts that are my own. I don’t like to borrow; I don’t like to sample…I don’t even like to do covers of other people’s stuff. I like to be true to myself”.

On modesty, she’s modest: “I try. I mean, I have my flashy moments and I’m all over the place, but in general terms, I have a lot of respect for people that have guided me in my life. The true people I have respect for are very humble people; they’re very modest people… they continue to work and learn throughout their lives –and I’m talking about people who are in their 80s and even older than that. I respect people who have gone through life; hardships, happy times…everything, and still manage to remain calm and cool, and friendly, and open, and communicative. They’re my idols”.

About knowledge, she holds that it is something that should be sought daily, from whatever situation: “I wasn’t born knowing anything, and I’m still quite young in my life. I think that everyday, there’s something to learn, either from people, or situations, or anything that happens in your life”. From how a video director goes about his work, to the grace in how an ice water seller holds her spine, there’s always something to pick up: “if you want to learn diɛ aa, everyday, you’ll find a situation, at least, which will teach you something”, she’s convinced.

In many ways, Sena reminds you of the ocean –magnificent in its wonder, and bursting with infinite possibility. But it scares her a bit, because it once almost drowned her. She breaks into a nervous laugh when she mentions snakes too, and eyes the ground near her feet, as though there’s one crawling up her leg this very second. “They just freak me out!”

What else? “Not trying…that really dey bore me”, as does the realization, at 60, or 70, that she didn’t explore her full potential. “I try to not be afraid of life, because that one diɛ, no point…then you might as well die”, she sums up.

Ultimately, Sena also typifies an overall “wave mentality”, or a peculiar “Irie vibe”, if you will. “Irie” denotes “good feeling” in Jamaican patios, and she’s a staunch advocate of that. It’s evident in how she exclaims “Oh Yeaah!”, when I utter the term. “I’m all about Irie vibes, I mean, if it’s not fun, then don’t do it. We are here to enjoy life. So if you’re doing something and you don’t enjoy it, don’t do it!”

An intricate puzzle, life is only truly figured out in bits, with each passing day. Our time here, and how we go about navigating it, is a task we must enjoy, whatever the circumstance. A silver lining is what our gaze should perpetually be fixed on, if we must find true meaning over here. “Irie-ness, constantly”, as Sena puts it.

*Sena is author of numerous projects, and has played at destinations all over the world. Her latest album, FEATHERS,  was released in April 2017. Get it here.


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Quarps & EUNICE – A #EuNiiQ love story!



February 7, 2017 –One Airport Square Building (8th Floor)

For a conversation between men to be truly thorough, it must involve prattle about girls. Specifically, in this regard, brother Quarps and I had a gratifying time that evening in my office.

He had heard that I had gone and gotten myself a lover, and I harboured a single question about Eunice, his girlfriend. As we waited for her to join us from work, those issues occupied us.

Now, Quarps Hansen is an astute man, and it is in his nature to offload profundity in passing. Unsurprisingly, the discussion became dense almost immediately. How do you know if someone is specifically “the one”? How soon can you tell if they are? At what point is it permissible to give up on someone?

Soft-spoken and always beaming, the beloved Y FM disc jockey (born Nii Quarcoopome Hansen- Sackey, but also trading by the showbiz alias ‘DJ Portable”) navigated these delicate matters with the depth of one who has been married for 3 decades. On this 20-something’s shoulders rests an old man’s head.

I have always admired Quarps and Eunice for their natural kindness and the overall stability they exude. But no relationship is ever entirely rosy. At some point, that union, and the character of its components will be tested greatly. For instance: how would you take it if your partner were involved in a harrowing accident that leaves her with multiple broken bones at least, and a good chance of her being wheelchair bound for the rest of her life?

The above is hardly a hypothetical situation for Mr. Hansen, for that was his reality several months before our February meeting.

“What if she hadn’t gotten up from that wheelchair?”, the question finally trickled from my lips cautiously –the mere thought of watching a loved one go through such a time causing me to shudder greatly.

“Oh like I go find am romantic pushing am around and tins”, he responded coolly in Pidgin, and then moved on to some other topic as though what he had just said wasn’t a deeply instructive statement which required a moment to properly process.

That answer stopped me dead in my tracks, and for the rest of the evening, I could think of little else. Where does one muster such spirit, for no one really teaches that? I stared at this man, of similar build as me, as though this was our first ever meeting…as though I had not known him for over a decade. Quarps has frequently inspired me for as long as we have known each other, and perpetually insisted that I never give up on my dreams…doing so with so much fervour, you would think they were his own dreams.

But those words hit me hard, and will rest in my heart forever.

Shortly after, Eunice called. She had arrived and was waiting downstairs. We went there to receive her. It was the first time I had seen her since the accident. Attired in a white shirt and a black skirt, she looked nothing like someone who, just a few months earlier, was fighting for her very life. As she smiled, my own cheeks widened too, as did Quarps’.

I observed the lovers hug a casual hug, but because Quarps’ words still played in my mind, it all looked especially meaningful.

More conversation ensued among us. Ample laughter too, and a stroll to the Marina Mall to grab a bite would crown a memorable evening. Over ice cream and a bucket of chicken, Eunice divulged her peculiar perspective of Quarps as soul mate, emphasizing thoughtfulness, principles, and the essence of being spiritually adequate. She also joked about how, in the end, God does send you a man after your own heart and quirky desires (in her case, an Adisadel College alumnus, and someone who had worked at the Kakum National Park). Like Quarps, she submitted a powerful phrase which would cause me to nod the slow nod which accompanies learning something deeply insightful. Consisting just three words, that phrase completed a moving anecdote she recorded while she was still on admission. Everybody who had come to see her had worn a specific look of panic and grief in their eyes due to what they saw…well, except Quarps, who simply stood before him unruffled.  “But Quarps though…”. No other words followed, but the import was clearly gotten. As she spoke these words, she turned to look at this man, whom God had made for her precisely. She was smiling, but there was an intensity about her eyes, and veins became pronounced on her forehead and temple –like one who was fighting back the urge to shed tears.

No matter what situation you find yourself in, the fairy tale is what you decide it is.

On December 30, in a blissful ceremony in Tema, they pair said “I do” to each other, in the presence of hundreds who have witnessed their inspiring love bloom. Shimmering in white, bride and groom danced and danced and danced, into the very darkness of the happy evening –the crook of their arms serving as preferred shelter for each other. It had taken over a decade for this moment to materialise, but it was finally here, and was simply magnificent to behold.


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Abuse, Violence & A CALL TO ACTION – Ebony’s ‘Maame Hwɛ’ – A REVIEW



Ebony’s talent is pure. It rests peacefully in a young lady whose patterns of stitched bravado and decisive artistic flexibility is causing so much pain to hostile souls, who are yet to come to terms with the fact that she is what they failed to achieve in their 20s.

Maame Hwɛ, a new effort off the 2017 Bonyfied debut, is her way of bringing back discussions about her ‘uprightness’ into focus – Intimidation, abuse et al – that have been kept rootless in the loins and sorry palms of a society at war with itself over what stand to take against women.

Away from repeated, boring lines of gender-driven advocacy, Maame Hwɛ is also not the everyday Kofi ne Ama muddled social media lines of who is best at catcalling; it is a reminder and call to action that readily exposes the schism that exists thereof, and for all to join the fight against any form of abuse.

Maame Hwɛ is a theme so distant from Hustle, her muffled booty call hit song of one-month old. Here, there are urgent matters of the heart that are addressed while complications that thread along oppression and freedom are also visibly exorcised. But it is her flawless handling that sets the tone for a song that is so infectious and enthralling. In all its beauty.

Takoradi-based Willis Beatz threw his might on Maame hwɛ. There are no surprises here – he continues to prove the fine talent he has become; Ayesem’s Koti of recent radio and YouTube memory, full proof. Maame Hwɛ is a long road of multiple contraction but has the beautifully-worn Willis Beatz percussion – loitering all over the song – to aid its flow. All through, she sustains listener-inquest and gets the needed attention – same feature she’s been used to all year.

Drummy, the lull-beats for Maame Hwɛ are virgin and soulful, they track their way back to an ever willing breakneck audible controller, who sings her way through a difficult topic with ease. The vocal delivery is amped-up within, and at the extreme margins, too, so well that even the constant regretful, mournful notes of Maame Hwɛ find resting place on the edges of a composition so rough and inconvenient in subject matter but charming in total body of work.

Consistently, the winning module for Ebony is the song writing that serves a fitting guide to her compositions. It has been the most visible part of her 2017 releases, and readily shows how much of an investment (time) has gone into ensuring that she stays relevant. A stronger testament of what two worlds of song writing does to a young soul’s delivery, there are traces of Bullet, label head at Ruff Town, who is doing an impressive work co-penning/penning some of the priceless songs they have both gone to market with. Bullet (Ricky Nana Agyemang) is an old cat with an astonishing sense of how to make hit songs. His glorious days with the duo Ruff & Smooth churned a lot of anthems that went on the same path Ebony is enjoying now. His song writing credentials are broad and all over the local music scene. It is a unique talent he shares with former Ruff & Smooth other-half Akhan, who penned Nana Yaa’s ‘My Hunny’. Ebony has the complete song writing effort at Ruff Town/Midas Touch Inc. to thank but it is how she also renders the songs in-studio and in front of thousands such as at her recent solo concert in the national capital, Accra, that brings out the stunning artistic beast in her. They are new every morning.

Ebony opens Maame Hwɛ by registering her dislike for a bully and goes on a line about shame and not listening to a mother’s advice hence the subsequent viciousness she suffers. Maame Hwɛ is renewed remembrance of bad pain. The underlining logs are not just frank and bold, but also straightforward in their summation.

On Maame Hwɛ, all arguments about versatility are overwhelmed. If Kupe, Poison, Sponsor, Date Ur Fada, and Turn on the Light were pearls, this is Ebony to a whole new echelon. She came good in the Prince Dovlo-directed video for the song, too, opting for a look that is very adult and serious – staying in character.

For a song whose context is made known right from the beginning – about how abusers dwell on oppression to their gain – It digs into a plot about how cold it is not to conquer any form of abuse, domestic or not.

Maame Hwɛ is a dream song. It is yet, the musician’s most poignant statement in two years while it is also a celebration of the works of ailing Ghanaian musician Jewel Ackah. Ebony references Ackah’s decades-old classic Bɔdambɔ Bɔdambɔ in an uplifting way. Ebony is queen of modern day referencing, which is also doing the trick for KiDi, Kuami Eugene and Stonebwoy hype man and up-and-comer Kelvyn Boy (Oheneba Kissi on the latest Na You). On Maame Hwɛ, Ebony merges a well-ordered carousel of magical, old and new school Bɔdambɔ Bɔdambɔ inspiration that oozes goose bumps – the kind made in Axim, where Ackah was born.

Maame Hwɛ is a significant push for her young career and a huge vote of confidence in what she calls a trade. By the first quarter of 2018, she will dominate conversations around major award shows. Bullet says she has been a blessing to him. He is right. She has been a blessing to a growing music industry. She has been a blessing to the many young females, looking for that single opportunity to show what they can do. It is always okay to skip school to pursue that desire. Ebony has shown the way.

Maame Hwɛ ends the same way it begins. Aren’t how all stories of abuse end?

Tracklist for Bonyfied (Released under Ruff Town Records/Midas Touch Inc.)


*Dance floor


*Poison feat Gatdoe


*Date Ur Fada

*Maame Hw3

*Hustle feat Brella

*Haters Anthem

*Turn on the Light







Video screenshots supplied by MiPROMO, managers of Ebony’s YouTube Channel.

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