Entertainment
Ded Buddy calls for urgent reforms in music industry
Ghanaian R&B singer and songwriter Eric Kwasi Turkson, better known by his stage name Ded Buddy or Cwesi, has called on the government to take action to improve the way the Ghana Music Rights Organisation (GHAMRO) operates.
His appeal follows mounting worries that, in spite of their music’s extensive distribution on numerous platforms, Ghanaian musicians are not being fairly compensated for their labour.
He revealed that after six months of their music being played on radio, television, and streaming services, many musicians only receive GH¢100 to GH¢200 in royalties.
“This is a crisis that threatens the survival of an industry that has the potential to generate significant revenue for our economy—it is not just an insult to the creative community,” he said.
He mentioned that Ghana has the talent and cultural clout to assert its legitimate share of the global music industry, which is worth billions of dollars.
He cautioned, though, that the nation runs the risk of missing out on economic opportunities in the absence of a transparent and effective Collective Management Organisation (CMO).
“Even though their music is widely consumed, the lack of proper rights management discourages investment, stifles growth, and forces many musicians into financial hardship,” he added.
For this reason, he demanded that CMO’s management be changed in order to guarantee equitable remuneration for all musicians, including producers and songwriters.
He emphasised how crucial it is to set up a functional CMO that ensures an open and fair distribution of profits.
Ded Buddy cited prosperous examples from nations like South Africa and Nigeria, whose music industries have flourished due to effective royalties collection and distribution.
“Ghana must not be abandoned,” he declared. Jobs for producers, engineers, marketers, event planners, and others are created by a flourishing music industry.
Additionally, it enhances the country’s standing as a centre of culture, drawing in foreign partnerships and tourists.
Ded Buddy added that organisations prepared to offer tracking systems for radio and television are part of the Alliance for Change in the Ghana Music Industry, of which he is a member, along with other important stakeholders.
The goals of these systems are to guarantee musicians receive just compensation and get rid of the inefficiencies that GHAMRO is currently experiencing.
Under the previous Attorney General, the Alliance pushed for a licence to establish a new CMO, but they haven’t seen any results yet. He called on the Attorney General and the President to step in and create a new, accountable, and transparent CMO that genuinely serves creatives.
He emphasised that while their creations benefit others, Ghana’s musicians, producers, and songwriters cannot be ignored any longer.
He declared, “This is a pivotal moment to address the injustice and put the music industry on a path to prosperity. To make this a reality, we are prepared to work with your office. Our music is an essential component of Ghana’s economic and cultural identity and serves as more than just entertainment. Let’s empower those who create it, so that it fulfils its proper function.”
The biggest event on Ghana’s entertainment calendar is set for a night of honours, pomp, and pageantry.
It is a night where musicians who excelled during the year under review will be rewarded through the endorsement of the Telecel Ghana Music Awards Board, the Academy, and the general public.
The Grand Arena, the ideal venue for the 27th TGMA, will host a star-studded audience of musicians, media personalities, businessmen, politicians, actors, and footballers among others.
On this night, the most coveted prize is the Artiste of the Year (AOTY) category, which will see the crowning of a new king or queen of Ghana music.
Two heavyweights in the category, Stonebwoy and Sarkodie, have the opportunity to set an enviable record as the only artistes to win the coveted title for a third time.
Should they fall short, the opportunity shifts to Black Sherif and Diana Hamilton to equal the record of two wins, joining the elite ranks of past double-winners like VIP.
A win for Diana Hamilton, will set her up in a lonely journey at the top as the only gospel musician, to win the Artiste of the Year for the second time.
Alternatively, Wendy Shay could make her debut by winning the award for the first time. This would make her team up with Diana Hamilton as the only female artistes alive to hold the title. The late Ebony, won it posthumously in 2018.
If the title slips past them and falls to Medikal, he will also become a first-time winner, etching his name into the annals of Ghana music history.
Patrons can look forward to electrifying performances from a long list of confirmed artistes, including Black Sherif, Diana Hamilton, Piesie Esther, R2Bees, Medikal, Wendy Shay, Lasmid, Kofi Kinaata, Samini, and Fido, among others.
Beyond the ultimate prize, several other major categories are up for grabs, including Music Video of the Year, New Artiste of the Year, Gospel Artiste of the Year, Most Popular Song of the Year, and Songwriter of the Year.
By Edem Mensah-Tsotorme
The fourth edition of International AmoFest lived up to its promise on Saturday, May 2, delivering a vibrant “three-in-one” experience that left the audience at Alliance Française in Accra buzzing.
The night was a masterful blend of sound and stagecraft. Berima Amo, the visionary behind the festival, led an impressive lineup of performers, including Pedro Kastelijns, Martha Apini, Rudy Ray, and Lamisi.
Together, they showcased a fusion of global music and authentic Ghanaian Highlife, staying true to the festival’s mission of preserving Ghana’s original rhythmic soul.
Adding a unique layer to the evening, Uncle Ebo Whyte’s Roverman Productions took to the stage, blending theater with the night’s musical energy.
The experience concluded with a high-energy after-party, fulfilling Berima Amo’s goal of creating a truly immersive and memorable night.
Reflecting on the event’s purpose, Amo emphasised the need for intentionality in protecting Highlife.
He called on every Ghanaian, as well as government institutions, to actively foster an environment where the genre can thrive on the global stage.
The main event followed a successful educational outreach on April 24, where over 250 high school students participated in a Highlife workshop at the Centre for National Culture.
By Edem Mensah-Tsotorme
