Ghanaian highlife musician Bisa Kdei delved into the evolution of Ghanaian music genres, particularly Azonto and Highlife.
Contrary to popular belief that Azonto, a dance and music style that gained global recognition in the early 2010s, disappeared prematurely, Bisa Kdei argued that the genre merely evolved and was rebranded under different names.
“Azonto didn’t exit prematurely, rather we had a name change. Like, we tagged it with other genres. It’s just like what happened to Highlife.”
Bisa Kdei
He drew a parallel between Azonto and Highlife, noting that many young artists today still make Highlife music, albeit under the label of Afrobeat.
Bisa Kdei emphasized that genre naming and trend shifts are largely driven by perception and the need to stay relevant in an ever-changing music industry.
“It’s the perception, it’s trend perception and everybody’s trying to follow what is trending right now,” he noted, suggesting that some artists may wait for trends to fade before reintroducing older styles like Highlife.
He also pointed out that genres like Amapiano and Drill had their moment in the spotlight but have since receded, while Highlife has remained a timeless staple in Ghanaian music.
“But you go back to Highlife, whatever you do, you go back to the good old days,” Bisa Kdei said.
The artist called for a greater focus on promoting and preserving indigenous Ghanaian genres, urging listeners and creators alike to resist the temptation to copy foreign styles.
“We’re trying to copy other people’s genres, which is wrong. We can’t sell it back to them as they sell it to us, but we can sell our Highlife, Hiplife, and Azonto to them properly because we are the originators.”
Bisa Kdei
Bisa Kdei’s comments highlight the ongoing debate about the place of traditional Ghanaian music in a globalized industry, where trends often overshadow the rich cultural heritage of genres like Highlife and Azonto.
It also serves as a reminder of the importance of cultural authenticity and the need to support homegrown music for future generations.
Abeiku Santana Commends Bisa Kdei
Award-winning singer, Bisa Kdei, received a great deal of acclaim from renowned Ghanaian broadcaster Abeiku Santana, who also hosts Okay FM‘s ‘Ekwanso Dwoodwoo’ program, for his significant influence on contemporary highlife performers.
Abeiku Santana emphasized Bisa Kdei’s influence in the highlife community while he was on his most recent music tour to promote his brand as well as his song ‘Boso’.
The song, which is presently becoming popular on the local airwaves, captures the genuine spirit of Ghanaian highlife music.
Abeiku Santana highlighted Bisa Kdei’s significant influence on the development of Ghana’s contemporary highlife music scene.
He claims that Bisa Kdei’s influence on the genre opened the door for modern performers to embrace and popularize highlife music, including King Promise, Kofi Kinaata, Kuami Eugene, and King Paluta.
Abeiku Santana mentioned that Bisa Kdei’s influence on the highlife genre is a noteworthy accomplishment that shouldn’t be disregarded.
He claims that Bisa Kdei developed a novel and tasty take on highlife that appeals to the younger generation of musicians through his distinctive fusion of rhythms and lyrics.
“Bisa Kdei should be commended greatly for his contributions to Ghanaian highlife music,” Abeiku Santana said.
Abeiku went on to say that Bisa Kdei’s ability to update highlife without sacrificing its core qualities has increased the genre’s appeal to both domestic and foreign listeners. This, in Abeiku Santana’s opinion, is evidence of Bisa Kdei’s artistic vision and talent.
Known for hits like ‘Mansa’, ‘Brother Brother’, and ‘Asew’, Bisa Kdei has undoubtedly blazed a path in the Ghanaian music scene.
In addition to bringing highlife music back to life, his contributions have encouraged a new wave of musicians to experiment and explore the genre.
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