Article Wan, a prominent figure in the Ghanaian music scene, has voiced his strong disapproval of the aggressive campaigning tactics employed by artists vying for the coveted ‘Artiste of the Year’ title at the 2025 Telecel Ghana Music Awards (TGMA). He characterizes the current campaign landscape as “ugly, nasty, and annoying,” lamenting the detrimental effects it’s having on the industry’s overall atmosphere. His primary concern revolves around the intense lobbying and promotional efforts, often orchestrated through hired public relations officers (PROs), which he believes are fostering an environment of unhealthy competition and eroding the camaraderie among artists.
At the heart of Article Wan’s critique lies the observation that the relentless pursuit of the ‘Artiste of the Year’ award has spiraled into a cutthroat race, marked by excessive self-promotion and the creation of artificial hype. He argues that this relentless push for recognition has overshadowed the true essence of music, shifting the focus from artistic merit and genuine talent to manufactured publicity and strategic campaigning. The consequence, he suggests, is a toxic environment where artists are increasingly preoccupied with outmaneuvering their peers rather than honing their craft and contributing meaningfully to the industry’s growth.
Furthermore, Article Wan expresses concern over the divisive impact of these aggressive campaigns on fan bases. The intense online rivalries and fan wars, often fueled by the artists’ promotional efforts, are creating a fragmented and hostile landscape within the music community. This animosity, he argues, stifles creativity and hinders the collaborative spirit that is essential for a thriving artistic ecosystem. He advocates for a return to a more respectful and supportive environment where artists can celebrate each other’s achievements and focus on collective growth rather than engaging in destructive competition.
A key element of Article Wan’s criticism centers on the pervasive presence of hired PROs who play a significant role in orchestrating these aggressive campaigns. He suggests that the involvement of these professionals has exacerbated the problem by introducing a calculated and often manipulative approach to promotion. The focus has shifted from organic engagement with fans to strategically crafted messages and carefully curated online personas, further distancing artists from their audiences and contributing to the artificiality that plagues the industry.
Article Wan’s call to action is a plea for a return to authenticity and a renewed emphasis on artistic integrity. He urges artists to tone down their campaigns and embrace a more organic approach to recognition, allowing their talent and hard work to speak for themselves. He emphasizes the importance of fostering a healthy competitive spirit where artists can inspire and challenge each other without resorting to aggressive tactics and divisive rhetoric. The goal, he suggests, should be to elevate the Ghanaian music scene collectively rather than engaging in self-serving promotional battles that ultimately undermine the industry’s overall progress.
In essence, Article Wan’s critique serves as a wake-up call to the Ghanaian music industry. He highlights the dangers of prioritizing hype and manufactured publicity over genuine artistic expression and the importance of fostering a supportive and collaborative environment. His call for a return to organic recognition and respectful competition offers a pathway towards a more sustainable and fulfilling future for the Ghanaian music scene. He reminds artists and industry players alike that true artistic success is built on talent, hard work, and genuine connection with audiences, not on manipulative campaigns and divisive tactics.
