Keeny Ice, a Ghanaian rapper hailing from the Volta Region, has brought to light a significant challenge faced by artists who choose to express themselves in local dialects within the Ghanaian music industry. During an interview on Hitz FM, Keeny Ice recounted an incident where a local radio station declined to play his music solely because the lyrics were in Ewe, his native tongue. This rejection, he argues, highlights a systemic bias against less widely spoken languages in the industry, where languages like Twi, Fante, and Akan dominate the airwaves and enjoy mainstream acceptance. This dominance creates a barrier for artists who perform in languages such as Ewe, Dagbani, or other indigenous tongues, limiting their reach and potential for recognition.
The radio station’s refusal, according to Keeny Ice, stemmed from a lack of understanding of the Ewe language. The representative reportedly stated, “We can’t play an Ewe song. I don’t understand what you say in the song.” This statement underscores a critical issue: the limited exposure and appreciation for the diverse linguistic landscape of Ghana within its own music industry. While multilingualism is a defining characteristic of Ghana, the music scene often defaults to a handful of dominant languages, potentially marginalizing artists and audiences who speak other languages. This linguistic bias not only restricts the creative expression of artists but also deprives listeners of the rich cultural tapestry that diverse languages bring to music.
Keeny Ice’s experience reveals the pressure faced by artists from minority language backgrounds to conform to the dominant linguistic norms of the industry. While he acknowledges his Ewe heritage, he also indicated that not all his songs are in Ewe. “I have songs that don’t have any Ewe words,” he stated, suggesting a conscious effort to navigate the linguistic barriers within the industry. This strategic choice reflects the pragmatic realities faced by many artists who must balance artistic expression with the practical considerations of reaching a wider audience. This pressure to conform can stifle creativity and limit the representation of diverse cultural experiences in the music landscape.
Furthermore, Keeny Ice’s observations extend beyond the linguistic challenges to encompass the broader trends within the Ghanaian music scene. He commented on the increasing shift among Ghanaian rappers towards singing and danceable music, driven by the prevalent financial incentives in the industry. He noted that opportunities often favor Afrobeat and commercial artists, potentially leaving traditional rappers with fewer avenues for success. This economic disparity further reinforces the existing power dynamics within the industry, pushing artists towards genres that are perceived as more commercially viable, even if it means compromising their artistic vision.
This trend towards commercial viability can be seen as a double-edged sword. On the one hand, it opens up opportunities for Ghanaian artists on the global stage, as Afrobeat and other dance-oriented genres gain international popularity. This global recognition brings with it economic benefits and wider exposure for Ghanaian music. On the other hand, this focus on commercially driven genres can lead to a homogenization of sound and a potential neglect of other genres, including traditional rap and music in local languages. This shift can marginalize artists who do not conform to the dominant trends, restricting their access to resources and platforms for showcasing their talent.
The issues raised by Keeny Ice highlight the complex interplay of language, culture, and economics within the Ghanaian music industry. The dominance of certain languages, the pressure to conform to commercially viable genres, and the limited opportunities for artists who deviate from these norms present significant challenges. Addressing these challenges requires a concerted effort from various stakeholders, including radio stations, music producers, and consumers, to embrace and celebrate the linguistic and cultural diversity that enriches Ghana’s vibrant music scene. By fostering inclusivity and promoting wider representation, the industry can create a more equitable space for artists from all linguistic backgrounds to thrive and contribute to the rich tapestry of Ghanaian music. Keeny Ice’s forthcoming EP, “Ice Cold,” set to release on May 30, 2025, represents a platform for him to continue his artistic journey and contribute to the ongoing conversation about language, representation, and diversity in Ghanaian music.
