Shatta Wale, an influential figure in the Ghana Music scene, has taken a bold stance against his fellow musicians who have been clamoring for a reduction of Nigerian music on Ghana’s airwaves.
Through a series of posts, Shatta Wale voiced his disagreement with the prevailing sentiment, asserting that such a move would not yield the desired outcomes.
Expressing his views, Shatta Wale conveyed his belief that even if Ghana were to implement the local content policy more rigorously, the influence of Nigerian music would continue to dominate.
His rationale extended beyond traditional airplay, delving into the realm of streaming platforms, where he argued that the government cannot compel Ghanaians to exclusively consume local music.
In characteristic fashion, the singer, known for his candid expressions, contended that the impact of the local content policy would be limited in the streaming era.
He elaborated on this, stating that enforcing the policy for airplay does not guarantee an increase in the popularity of Ghanaian music. Shatta Wale’s skepticism about the efficacy of such policies highlighted the evolving landscape of music consumption in an era dominated by digital platforms.
In a distinctive blend of passion and vernacular expression, Shatta Wale conveyed his sentiments in Ghanaian Pidgin, emphasizing the cultural nuances inherent in the conversation.
“The way Wizkid and Davido and Burna Boy love Ghana nu, you ppl wan play dem a song 20%? No problem,” he articulated, addressing the contentious issue with a mix of humor and conviction.
Shatta Wale further asserted that the desire for Ghanaians to reduce the airplay of Nigerian artists stems from a misguided spirit of rivalry.
He suggested that it is unnecessary to force local audiences to exclusively listen to Ghanaian favorites when Nigerian artists like Wizkid are embraced and loved by the populace.
Using vivid language, Shatta Wale conveyed a stark prediction, suggesting that it would take Ghana an astonishingly long time, “roughly the year 5050,” to catch up with Nigeria in the realm of music.
The exaggerated timeline underscored his belief in the enduring influence and appeal of Nigerian music on a global scale.
With a critical eye on the dynamics between artists, DJs, and the music industry, Shatta Wale pointedly criticized his colleagues, asserting that some Ghanaian artists, in their pursuit of increased airplay, fail to support the DJs who play their music.
This biting commentary highlighted the complex relationship between artists and the industry’s ecosystem.
In conclusion, Shatta Wale drew attention to what he perceived as a larger issue – the financial struggles of artists and their fans.
He painted a picture of a scenario where both the artists and their supporters are financially strained, questioning the viability of the music industry in such circumstances.
Shatta Wale’s outspoken critique adds a compelling layer to the ongoing debate about the influence of Nigerian music in Ghana. His perspective challenges the status quo and encourages a nuanced reflection on the intricacies of the music industry’s interconnected elements.
