Media personality, Nana Romeo, has delved into why King Promise missed out on winning the coveted ‘Artiste of the Year’ award at the Telecel Ghana Music Awards (TGMA) 2024.
King Promise’s limited interaction with traditional media platforms significantly diminished his visibility and popularity, ultimately affecting his chances of clinching the award.
Furthermore, he highlighted King Promise’s absence of a new album release and fewer collaborations with fellow artists contributing to his loss at TGMA 2024.
“I always emphasize that if you’re an artiste and you value your self-respect to the point of avoiding traditional media, it will backfire. Kofi Kinaata is a prime example; after releasing his ‘Efie Kuma’ song, he consistently expressed his desire to win the Reggae Song of the Year award in every interview.
“It paid off for him. King Promise is undoubtedly a talented artiste, but his presence in traditional media is notably weak.”
Nana Romeo
While acknowledging King Promise’s undeniable talent, Nana Romeo stressed the necessity of artistes engaging with traditional media outlets to maximize their exposure and potential for accolades.
“Without an album release, how can one anticipate victory? King Promise may have impressive numbers in digital stores, but that’s not the only factor. Live performances and collaborations are also crucial.
“Stonebwoy’s success was aided by his communicativeness. His issues with Shatta played a significant role as well.”
Nana Romeo
Despite high expectations for King Promise to clinch the title, Stonebwoy emerged victorious at TGMA 2024, securing three awards in total.
Stonebwoy’s Stage Entrance, a Cultural Significance
When Stonebwoy took the stage at the Telecel Ghana Music Awards, his deliberate entrance with his back to the audience was far from mere theatrics; it carried profound cultural significance deeply rooted in the Anlo heritage.
History has it that when the Ewe people bravely escaped the oppressive rule of King Agorkorli in Notse, they strategically walked backward to evade detection, ensuring their enemies couldn’t trace their footsteps.
This remarkable demonstration of resilience and liberation mirrors Stonebwoy’s journey and triumphs, as he has also overcome obstacles to claim his place in the music industry.
In a symbolic nod to this ancestral tale, Stonebwoy’s backward walk onstage served to confuse his enemies, echoing the tactics employed by his forefathers in their quest for freedom.
Before his performance, he was ceremoniously ushered onto the stage by an elder of the Ewe community, who bestowed traditional appellations upon him in the Ewe language.
Though perhaps baffling to some, these proverbs conveyed profound messages of honor and respect, emphasizing the importance of humility and wisdom.
The proverbs spoken during Stonebwoy’s performance carried profound wisdom, “It is the chicken that is always closer to the hen that enjoys the fattest part of their feast.” This signifies the importance of closeness to greatness and the rewards that come with it.
The second proverb, “It is true that a child who knows how to wash his or her hands dines with elders,” underscores the value of wisdom and humility. It speaks to the notion that those who demonstrate maturity and respect are welcomed into esteemed circles, regardless of their age or status.
Accompanied by his anthem “Manodzi,” symbolizing reign and advantage, Stonebwoy’s stage setup featured a regal lion backdrop and the waving of the BHIM flag by a dancer, embodying strength and sovereignty.
Crafted by Elizabeth Efua Sutherland, the great-granddaughter of Efua Sutherland, Stonebwoy’s performance was hailed as one of the night’s highlights, captivating audiences with its cultural richness and artistic excellence.
Through his world-class performance, Stonebwoy not only entertained but also celebrated the enduring spirit and heritage of the Ewe people, leaving an indelible mark on all who witnessed his electrifying tribute.
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