Ghana’s music space has enjoyed several turning points that have shaken the industry, introduced some refreshing talents, and ultimately reshaped the soundscape of the industry for several years. The introduction and amplification of the Highlife, Hiplife era, Azonto period, Reggae/Dancehall revolution, and very recently the Asakaa takeover are a few noteworthy periods that easily come to mind. While all these periods are crucial, this article seeks to highlight the year 2017 and how it lingers in the minds of young people for how much it gave to the Ghanaian music industry. As heavyweights like Sarkodie, Stonebwoy, Shatta Wale, R2bees, and the likes were actively championing Ghanaian music and dominating the airwaves, a younger set of artists who had been laying the foundation of their careers in years past would carve their path to mainstream attention and acceptance.
At a time when dancehall music seemed to be the biggest genre of the day, artists like B4bonah, La Meme Gang, Adomaa, Amaarae, Kwesi Arthur, Vision Inspired Music, Dark Suburb, Worlasi, Pure Akan, Kuvie, Zodivc, and Cina Soul were pushing through an alternative sound. The refreshing nature of their art, coupled with their collectiveness, earned them love and admiration across different age groups. Their music, performances, fashion, and lifestyle choices became core memories for those who experienced it and a lovely tale for those who came to hear about it. On one hand, was the group that made very alternative music, and on the other hand, the likes of King Promise, DopeNation, Kuami Eugene, KiDi, and Ebony were also giving the commercial scene a run for their money.
Ghanaian music was in a very good space. Aside from the music itself, there was a general commitment by different groups to champion Ghana music. The likes of Live FM at the time had introduced the GH Wednesdays initiative, which played 100% Ghanaian music throughout the day on the station. Spaces like Lokko House, Serallio, BBNZ, and a host of others had opened their doors to platform this new wave of artists. Platforms like iMullar, Culartblog, Blacklef, Hamarttan Rain, and a host of others made themselves available to not only amplify the art but also document the period of everything that happened.
All one needed was a SoundCloud account and you would have access to hundreds of songs. Consumers were spoilt for choice. Official singles, covers, demos, and throw away songs were all there for consumption. The latent pool of talents on campuses at the time were not left out of the fun. The likes of Supa Gaeta, Tibu, Kelvin Mo, Jojo Addison, Offei, and a host of others were actively in the mix. Emerging talents at the time like Bryan The Mensah, Kwame Yesu, Arabic Man, Marince Omario, Tulenkey, Tsoobi, Renner, Questo, Zotto and a host of others also received recognition for their contributions.
The quality of music released in 2017, both albums and projects, is still being talked about today for how much the artist, and the general atmosphere during the period have influenced today’s generation of artists. Without undermining the works of those before in the general shaping of our music industry, a younger generation will always look back at 2017 as a defining moment in Ghana’s music industry in recent times. Today, some of the artists that emerged during that period are some of the biggest artists representing the country on global stages. Their success and growth continue to inspire a younger generation who have accepted the challenge to run the race and push Ghana music to the ends of the world.
For some, 2017 may have just been another year, but for others, like this writer, 2017 was a period where Ghanaian music looked alive, and the opportunities looked ripe for the taking—not for a few, but for a large number of people who were willing to take it. The period presented people who were often too afraid to make music because their music would be labelled “uncommercial” and too different an opportunity to be bold and share their art. Seeing the success of others motivated many to share their art regardless of the sound, the look, and the feel of their art.
Written by Nana Kojo Mula.
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