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    Female artistes close to GH music takeover

    by Nii Kotey, AfricanPromo.com
    posted Friday, 23 March 2012 18:16| 0 Comments

    Everything works to prove that circular music in Ghana is a male-friendly territory. Records prove that more than two-thirds of mainstream circular music over the last two decades has been inspired by the male gender- either by writing of lyrics or featuring and performing/recording of these songs.

    The Ghana Music Awards (GMAs) has rightfully adjudged a Male artiste of circular music background as overall Best Artiste in all of its annual awards events, save a handful females and males of Gospel music dedication.

    Statistically too, more than 70% of GMA nominees have been males, representing an average of about 3 males to every one female for every four nominations in the last five years.

    But even though the figures speak against the females, it is refreshing to note that there has been a vast improvement in female participation in circular music in the last half-decade compared to just about 15 years ago.

    More than a decade ago, the average circular music hit-making statistics pitched the lasses at a woeful annual average of 3 hits- none of them good enough to be considered as Popular song of the Year, Record of the Year or reward the creator a nomination for Artiste of the year- the three most high profile honors for any circular music act.

    Between that period (15 to 6 years ago), there were a few ladies making strides in the ‘new’ Hiplife genre, notable among them the evergreen Abrewanana, crooner Mary Agyepong, exciting Ras Niggar, the all-female group called Triple M and much later Mzbel amongst others.

    All of these ladies were great- different technique and different delivery in their efforts in a basically male-dominated territory was much more admirable.

    They really worked hard, pushing the gents hard and sending the signals to their rather timid and doubtful colleagues of same gender.

    And boy didn’t they get the message!

    For in the last few years, the stats have let out the impression of the feminine catching up with the gents rather fast and more furiously. Some schools of thought believe the emergence of Reality shows have benefited the ladies much better than the gents, this could be true, but what could even be more realistic is that the ladies were planning an epidemic even before these Reality shows had sprung up.

    This is not to take the credit from these reality shows that have directly or indirectly benefitted the industry with numerous divas including the likes of Adina, Efya, Irene, Ruth, Dela, Bertha and even the likes of Mimi, Kaaki and EKB’s Becca. There have been the outsiders too led by Eazzy, Tiffany and Racquel.

    It seems a matter of time before the dudes get upstaged, considering the ladies daring to attempt an all-diva (divas only) concert, albeit successfully too. Plus, it seems the divas have suddenly cemented a place on the bill for the biggest concerts, unlike in decades past.

    Already Bertha has proven her steel with a brilliant vocal package that earned Okyeame Kwame a couple of nominations. Efya’s style has also caught on fine in recent times, suddenly becoming the target of male entertainers to complete their masterpieces. She seems to have the approval of the fans too. Irene will still not be forgotten for Runaway with many considering her as one of the most powerful voices in the industry. Becca, the poster girl of the Divas continues to thrill with her incredible lyrics and sing-alongs. Mimi has done pretty fine too, and so has Raquel, regardless of recent negative reports.

    But perhaps the biggest three divas of the Ghanaian Music Industry remain Eazzy, Tiffany and wild card discovery Kaaki who have pushed the dynamics of Ghanaian music for entertainers of both gender. For a variety of reasons, these superstars have been superb. Genuinely, these three are the most realistic challenge for the gents, no disrespect to the others, and I can explain.

    Eazzy is perhaps the only female with the same energy and drive to match the male acts of Ghanaian music. This is evident in the tempo of her songs, which I must say are so difficult to pull of successfully without appearing silly at the end. Even though other females to their credit attempt danceable, rhythmic tunes you think it’s not of the same kind of energy as Eazzy’s two more successful attempts thus far. Her songs usually come across as genuine contenders for Popular song and even Song of the Year. Her works seem to have that aura of commercial value and the right vibe to start the party in the true sense of the phrase.

    And please don’t say Tiffany hasn’t matched the gents with her super deliveries. Save a few male artistes, the level of rap has not been exactly extraordinary and so far, as this remains so, then it is fair to say that Tiffany has been up there with the other guys. To her credit, she has attempted a few decent hits as well as numerous features in some of the most popular music in the industry at the moment. And you can say that so far she hasn’t been a disgrace at all.

    This lady is however probably the answer, Kaaki.

    Another who deserves all the rave reviews and the airwaves domination she gets at the moment, Kaaki is a breed of talent, hardwork and creativity as well as the product of genius. Top notch music has been her hallmark so far, stealing over the airwaves with series of hits after hits. Amazingly, her songs are of a different tempo, but easy to catch on and for once we have an Act who cares about the impact of the lyrics as well as the song- and not just one or the other. Her lyrics may not be entirely clean but they work, they push and they drill.

    Kaaki’s got this technique of Dancehall inspired by R&B, blends it perfectly to a listener’s delight and provides another option to party music so different from the rest. She looks like she aims to be the face of African Dancehall rather than Queen of Ghanaian Dancehall. Her finesse puts her in the light as a likely nominee and winner of either one or all of Discovery, Female Artiste, Record of the year, Popular song of the Year and Afropop Song of the Year at some point in her career. She is also possibly only currently second to Samini as Best Dancehall artiste and perhaps the best thing to happen to Ghanaian music since Sakodie.

    So take Kaaki’s projects so far, Tiffany’s remarkable involvement, Eazzy’s daring abilities, Bertha’s fruitful debut, Raquel’s vocal range along with Becca’s profile as one of Ghana’s finest international icons and R&B heavyweight and Efya’s consistency and an ever growing reputation as a sure bet feature on the biggest hits in Ghanaian Hip Hop.

    Add the abilities and broader determinations of all the other female acts and you get a credible force to challenge the male acts in the industry.

    So even though the gents are in the driving seat now, they sure must be looking in the rare view mirror at the speed of the females trying to catch up real fast. Sooner or later, it won’t be comfortable for the gents anymore.




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