The Ghanaian music industry, despite its vibrant talent pool and rich cultural heritage, faces significant challenges in achieving international recognition, particularly in the UK market. This issue stems from a lack of deliberate and strategic promotion efforts by Ghanaian artists, according to renowned artiste manager and event organizer, George Britton. He criticizes the prevailing practice of superficial engagement with international markets, where artists often limit their promotional activities to a single interview related to their performance, neglecting the crucial groundwork necessary to establish a lasting presence. This ad-hoc approach, he argues, severely hinders the growth and global reach of Ghanaian music.
Britton advocates for a more comprehensive and sustained approach to international promotion. He emphasizes the importance of immersing oneself in the target market, developing a deep understanding of the local culture, and building relationships with key stakeholders. He suggests that artists should consider extended stays in their target markets, like London, to familiarize themselves with the environment and connect with the people. This immersion, he believes, is essential for creating authentic connections and tailoring promotional strategies to resonate with the local audience. Merely flying in for a performance and a single interview is insufficient to build a sustainable international following.
Beyond individual artist promotion, Britton stresses the importance of a collective effort to elevate the brand of Ghana on the global stage. He calls for a more intentional and strategic approach that focuses on showcasing the unique qualities of Ghanaian music and culture. He believes that a concerted effort to promote the “Ghana” brand alongside individual artists will create a stronger and more impactful presence in the international market. This requires a shift in mindset from individualistic pursuits to a collaborative effort that prioritizes the growth of the entire Ghanaian music industry.
Britton draws a compelling comparison with the Nigerian music industry, which has achieved remarkable global success. He attributes this success to deliberate and well-funded promotional strategies. Nigerian artists and labels have invested heavily in promoting their music internationally, securing lucrative deals and leveraging the resources of major labels to reach wider audiences. This strategic investment has resulted in a significant shift in global perception of Nigerian music and culture, establishing it as a major force in the international music scene.
The financial aspect of international promotion is another crucial element highlighted by Britton. He acknowledges that effective promotion requires significant financial investment. Securing deals with major labels, organizing large-scale promotional campaigns, and building a strong international presence all necessitate substantial financial resources. He emphasizes that Ghanaian artists and stakeholders must be prepared to invest significantly to compete on the global stage. This investment should not be viewed as an expense, but rather as a strategic investment in the future of Ghanaian music.
The path to international success for Ghanaian music requires a fundamental shift in approach. It demands a move away from superficial engagement and towards a more deliberate, sustained, and well-funded strategy. This includes not only individual artist promotion but also a collective effort to build the “Ghana” brand globally. Learning from the success of the Nigerian music industry, Ghanaian artists and stakeholders must prioritize strategic investment, long-term engagement with international markets, and a collaborative approach to elevate Ghanaian music to its deserved place on the world stage. The talent and potential are undoubtedly present; the key lies in adopting a more strategic and intentional approach to promotion.
