Ghanaians are fond of brushing off a whole system because there’s a new trend, This is killing the music industry – Mohammed Muhi Deen, Artiste Manager
Mohammed Muhi Deen, an experienced artiste manager, recently shared his concerns regarding this shift in a thought-provoking statement. He believes that Ghanaians are increasingly brushing off established systems in favor of embracing every new trend that comes their way. According to Deen, this is having a detrimental impact on the growth and sustainability of the local music industry.
Over the past few years, TikTok has changed the game for musicians globally. Artists can now see their songs go viral overnight thanks to catchy challenges, user-generated content, and the platform’s algorithm that pushes music to wide audiences. It’s a trend that no artist or manager can afford to ignore, and for good reason: TikTok has proven to be a powerful tool for exposure and revenue generation.
Speaking on Kessben TV with Mr. Bonez, Deen pointed out that Ghanaians, in their quest to stay current with global trends, are too quick to abandon the traditional methods of music promotion that have long supported the growth of local artists. In particular, he highlights the dismissal of traditional media platforms, such as radio and television, which have been instrumental in building the careers of many successful Ghanaian musicians.
Deen argues that while social media platforms like TikTok are important, they should not be the sole focus of an artist’s promotional strategy. Traditional media platforms, including radio stations, TV channels, and print media, continue to play an integral role in building an artist’s profile. Radio, for example, remains one of the most effective ways to reach a wide and diverse audience in Ghana, especially in regions where internet access may be limited.
This is especially true for the local music scene, where a strong presence on radio or TV often means wider recognition in both urban and rural areas. TikTok and social media promotion, while effective in urbanized and digitally-savvy areas, might not reach audiences in the same way that radio does. Ignoring traditional media could lead to a disconnect between artists and important segments of the Ghanaian population.
One of Deen’s main concerns is the tendency for artists and managers to chase after trends without fully considering the long-term implications for their careers. In a world where social media trends can come and go within the blink of an eye, basing an entire promotional strategy on a platform’s algorithm can be risky.
The problem, according to Deen, lies in how quickly the industry in Ghana has embraced new trends, sometimes abandoning the systems that have served the industry for years. Artists, eager to ride the wave of viral moments, may miss out on building a solid foundation that includes traditional forms of promotion, live performances, and long-term media relationships.
For the Ghanaian music industry to thrive, Deen advocates for a balance between embracing the latest trends and valuing the foundational practices that have stood the test of time. TikTok and social media offer exciting new possibilities, but they should be integrated into a larger, more sustainable promotional strategy. A blend of traditional media outreach, live performances, and digital presence is what will truly propel an artist to the next level.
By striking this balance, the music industry in Ghana can ensure that it continues to grow, not just by following trends, but by investing in long-term, well-rounded strategies that prioritize both new opportunities and time-tested practices.
The rise of platforms like TikTok has undoubtedly revolutionized the music industry in Ghana, but Mohammed Muhi Deen’s perspective serves as a reminder that we must not be swayed by fleeting trends. The country’s music scene is built on more than just viral moments.
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