A complex story that fluctuates between the fleeting glitter of social media trends and the abiding resonance of intentional, multilayered branding is emerging in the ever-evolving Ghanaian music space among promising talents. An obsession with social media trends and the pursuit of instant hits has become the norm, but at what cost?
Witnessing the conflict between the quest for viral fame and the development of a lasting musical legacy intrigues and worries me as someone who is intimately involved in the Ghanaian music industry, mostly as an observer.
In a world where tweets trend and TikToks define moments, the allure of instant success echoes loudly. However, the sweet melody of instant gratification often fades quickly, leaving artistes craving a sustained rhythm in an industry that demands more than just a passing glance. As an observer, I’ve witnessed the gravitational pull towards social media trends, steering emerging talents away from the path of longevity.
Discussing with Paul Azumah-Ayitey, a renowned Ghanaian Music Executive, he emphasized the need for emerging artistes to exercise patience and recognize the true currency of the digital age—their online presence. “Prioritize to optimize yourself digitally, across social media platforms because that is the extension of yourself and art”.
Paul dissects the misconception that music is a swift avenue to instant wealth. He stresses that the instant-money mindset is a pitfall, and urges artistes to focus on consistently delivering high-quality music content and building a strong digital footprint. He goes on to highlight the crucial role of relationships beyond social media, underlining the importance of sustaining connections with music distributors and traditional media. “More streaming equals more visibility and contributes to playlisting,” he explains, shedding light on the symbiotic relationship between online platforms and traditional media outlets.
Ian Otchere, a Ghanaian music Consultant and strategist, echoes the sentiment that social media trends are just one facet of a comprehensive strategy. “How many people within the localities of these artistes are very active on the internet? Even in Ghana how many people among the overall population are constantly online or on the internet? My point is with trends, people could miss them. They come and go and that’s it you don’t get people to talk about it again.”
Ian challenges the singular focus on online trends. He advocates for a 360-thinking approach that encompasses physical appearances, collaborations with other creative arts stakeholders, and engagement with various traditional media outlets.
He further dismisses the misconception that social media trends are easier to navigate, emphasizing that such a narrow focus is neither right nor sustainable in the long run. His perspective highlights the need for artists to diversify their efforts and explore multiple avenues for visibility. “As a young artistes, you want the audience, numbers and the people around you to hear of you, rightly so. That is why you need to look at all the possibilities: pitching to the stores, radio, tv, press (print + online), social media, physical appearances plus performances, collaborations with other creative arts stakeholders (fashion designers, visual artists, dancers, content creators, etc.)” he concluded.
Ella Okunmwendia, the dazzling Senior Publicist and Music PR, also provides expertise in navigating the challenge of promoting artistes without solely relying on social media trends. She emphasizes the importance of not putting all your eggs in one basket. “While digital platforms are crucial, I emphasize the value of traditional media, leveraging opportunities in radio and television,” she shares.
Ella encourages artistes to build relationships with media outlets, even in the absence of a substantial budget. She further offers valuable insights into the art of crafting narratives. She points out, “For long-term visibility, I focus on crafting a compelling narrative around the artist.”
According to her, this philosophy’s success is demonstrated by TiTi Owusu’s narrative. After Ella’s calculated consultation with Titi Owusu, her story shifted from Beyoncé comparisons to a deliberate focus on Titi as a formidable voice and performer who crosses genres. This thoughtful story offers a strong base that goes beyond a single endeavour, guaranteeing ongoing exposure for upcoming endeavours. She also cites the success story of Ko-Jo Cue, whose positive rapport with the media proved invaluable in shaping his narrative and facilitating media engagements. “Your network is your net worth,” she swears, emphasizing the significance of cultivating relationships for long-term success.
It is critical for emerging artistes to resist the temptation of rapid satisfaction in a world where trends come and go. Creating a music brand that lasts demands a deliberate, broad approach that goes beyond the whims of social media fads.
“When budgeting constraints are a factor,” as Azumah-Ayitey rightly states, “good relations and connections become crucial.”
