Ghana’s music industry is plagued by numerous challenges, from inadequate government support to a lack of resources.
However, one of the most alarming issues today is the decline in radio airplay for Ghanaian music.
Once a dominant force on the airwaves, local hits now struggle for attention as foreign music overshadows the nation’s homegrown talent.
A stark example of this crisis is the recent Chart Metric report, which revealed shockingly low airplay for the most-played Ghanaian song on radio stations.
According to the 2024 music report by Chart Metric, “The Doing of the Lord” by Diana Hamilton and Mercy Chinwo had a total of 449 spins on Ghanaian radio. A “spin” refers to a track receiving at least 30 seconds of airplay. In total, 2 million songs were played across 2,860 radio stations, with one billion spins recorded.
This low spin count for the country’s top song highlights a growing crisis. Ghanaian music is battling for survival amidst limited airplay, insufficient government support, and the overwhelming dominance of foreign content on local stations.
The impact of declining radio airplay
One of the most significant consequences of this trend is the lack of exposure for Ghanaian artistes who rely on radio as a key promotional platform. While digital streaming platforms (DSPs) like Spotify and Apple Music have gained popularity, a substantial number of Ghanaians still depend on radio for music consumption. Therefore, radio remains a vital promotional tool for artistes.
The financial implications are even more severe. Royalties from radio airplay should provide a crucial income stream for artistes. However, the system for collecting and distributing royalties in Ghana is broken. The Ghana Music Rights Organization (GHAMRO), responsible for managing royalties, has long been criticised for inefficiency and lack of transparency.
In some cases, celebrated Ghanaian artistes reportedly receive as little as 300 Ghana Cedis in royalties, an amount that barely covers basic expenses. The Chart Metric report further underscores GHAMRO’s failure to secure fair compensation for artistes, leaving many to question whether their country values their craft.
Government interventions and the #PlayGhana initiative
In December 2023, the Ministry of Tourism, Arts, and Culture, in collaboration with the Creative Arts Agency and industry stakeholders, launched the #PlayGhana initiative. This campaign aims to promote Ghanaian music on the airwaves.
At the launch event, prominent artistes such as Samini, Black Sherif, and Reggie Rockstone urged DJs and radio stations to prioritise local content. They also called on the government to amend and enforce the Cultural Policy and the Broadcasting Bill to mandate 70% local content, similar to Nigeria’s approach.
Samini, speaking at the event, highlighted the cultural importance of Ghanaian music:
“What we’re talking about is that, especially for the fact that we have Beyond the Return, which has become like an asset to Ghana, should anybody travel here and listen to 70% foreign music and 30% Ghanaian music, then what music have we sold to those who returned?”
Despite appeals to DJs and radio presenters, little progress has been made. At this point, legal enforcement appears to be the only viable solution to compel stakeholders to prioritise and promote Ghanaian music.
The current crisis reflects deeper systemic issues, including the neglect of local talent, the failure of royalty collection systems, and the unchecked dominance of foreign content.
To save Ghana’s music industry, the laws must be enforced, stakeholders held accountable, and the nation must prioritise its local sound. If these measures are not taken, Ghana risks losing its musical identity and leaving its artistes behind in an increasingly competitive global industry.
Conclusion
Ghanaian music is at a crossroads. The low spin count of its most-played song is a symptom of a much larger problem. With decisive action, the industry can reclaim its rightful place and ensure its artistes thrive both locally and internationally.
