Entertainment
New Studios should focus on international mastering practices -TiC
Ghanaian music superstar, TiC known in private life as Nana Kweku Okyere Duah has waded into the discussion on the promise by the New Patriotic Party (NPP) to build recording studios for artistes.
During the Manifesto launch at Cape Coast last Saturday, the NPP promised that should Ghanaians give them another four-year mandate, they would build a state-of-the-art studio in Accra, Tamale, Takoradi and Kumasi.
Speaking on the issue in an interview with The Spectator, TiC said “it is a good idea, but there is a need for breakdown as to what the studio would entail.”
In this light, he has advised that the focus of the studio should be on international mastering practices with large acoustic dimensions, laced with choral group recording section, and live performing arena.
According to him, the quality of the sound from Ghana was crucial for the promotion of music on the international market, and it would be prudent for an international mastering practices to be an issue of concern to improve the sounds through such an initiative.
He noted that this would make the songs from the country stand the test of time and rub shoulders with songs from any parts of the world.
He pointed out that music development facility coupled with provision of grants for tours to expose Ghana music to the rest of the world, would bring about more foreign exchange to boost the country’s Gross Domestic Product (GDP).
TiC stated that some past and present musicians conveniently took their music to other countries to master them after local production, even though some producers in the country were doing well.
He was optimistic that with mastering in focus, it would go a long way to support the Ghana music industry.
TiC is currently embarking on a project raising funds to support rape victims in the country.
By Edem Mensah-Tsotorme
Ghanaian music icon, Akwasi Poku Addae, known in Showbiz circles as Kwaisey Pee has honoured his promise to children suffering from cancer.
Ahead of his 25th anniversary event held at the D’ Icon Event Centre at East Legon last year, he made a promise to donate some funds to children suffering from cancer.
True to his word, the musician has recently made a donation of GHC50,000 to the Paediatric Oncology Unit of the Korle-Bu Teaching Hospital.
He told the Ghanaian Times that children are so dear to him, and was optimistic the support would go a long way too impact lives.
The music dynamo also promised that the gesture will not be the last,” it will be a continuous feature from me.”
He also called on Ghanaians home and abroad to lend a helping hand to children suffering from cancer.
According to him, children with cancer have many needs, and a helping hands will go a long way ease the suffering.
“Cancer treatment is very expensive, and leaving that to parents of the children alone, will be a huge burden, with support from you and myself, we can make some changes in other people’s lives,” he concluded.
By Edem Mensah-Tsotorme
In the ever-evolving journey of Ghanaian music, there are individuals whose contributions transcend the spotligh.
There are always men and women who work quietly yet powerfully to preserve culture, nurture legends, and keep the soul of the music alive across generations and borders.
One such figures is Jerry Amoah, widely known and affectionately called Nana Kobo.
This year, Ghana Music Awards-USA honours Jerry Amoah for his unwavering commitment to sustaining Ghanaian music, both at home and in the diaspora.
It is a recognition long deserved, a celebration of decades of passion, sacrifice, and cultural stewardship.
Jerry Amoah’s journey has never been about personal glory. Instead, it has been anchored in service: promoting Ghanaian sounds, advocating for artistes, and ensuring that the richness of Ghana’s musical heritage continues to resonate beyond national borders.
Through his tireless efforts, many Ghanaian musicians have found platforms, audiences, and renewed relevance, especially within Ghanaian communities abroad.
Central to his legacy is his steadfast support for gospel music and, in particular, his enduring association with legendary gospel icon Yaw Sarpong.
At times when gospel music needed champions, Jerry Amoah stood firm—protecting its values, amplifying its message, and honoring its pioneers. His respect for Yaw Sarpong is not merely professional; it reflects a deep appreciation for music as ministry, heritage, and moral compass.
Colleagues often describe Nana Kobo as a bridge—connecting generations, genres, and geographies.
He understands that Ghanaian music is not just entertainment, but identity. Through festivals, promotions, mentorship, and behind-the-scenes advocacy, he has helped ensure that Ghana’s rhythms, lyrics, and spiritual expressions remain relevant in a globalized world.
As Ghana Music Awards-USA prepares to bestow this honour, it is not simply recognizing one man—it is saluting a lifetime of dedication to culture, faith, and music.
Jerry Amoah’s story reminds us that true impact is measured not by applause, but by legacy.
And in the story of Ghanaian music, Nana Kobo’s legacy is written in bold, enduring notes.
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