Veteran Ghanaian musician Gyedu-Blay Ambolley has raised concerns about the increasing dominance of technology in modern music production, warning that digital shortcuts are eroding creativity and artistic discipline among today’s musicians.
Speaking in an interview, the highlife pioneer didn’t mince words as he criticized the current wave of music that prioritizes speed and convenience over effort and depth.
According to Ambolley, the widespread use of technology in music today has led to a new generation of artists relying too heavily on computers and software, instead of mastering musical instruments or developing strong lyrical content. “Shortcuts in music are not good,” he said.
“It makes your music ‘sharp sharp’; it doesn’t last.” The term “sharp, sharp,” he explained, refers to the fast-food style of music production that lacks soul, substance, and staying power.
Gyedu-Blay Ambolley, whose career spans several decades and includes early experimentation with rap-infused highlife in the 1970s, expressed concern that many artists are now bypassing the learning process altogether.
For him, music should be treated as a craft that requires discipline, mentorship, and cultural grounding. He noted that in earlier times, musicians had to learn to play instruments, study music theory, and perform live: skills that taught patience and fostered originality.
But in today’s digital-driven industry, a beat can be downloaded, lyrics quickly patched together, and a song uploaded within hours, often without much human interaction or creative collaboration.
He also pointed out how the lack of communication between collaborators is becoming increasingly common in the age of remote recordings.
Ambolley shared his own experience working with younger artists who send him tracks to feature on, only to release the final version without any follow-up or feedback.
“When they send the music, I do my part, but after that, they don’t come back for me to listen to the entire song. Before I know it, it’s on air,” he said, calling it a symptom of how impersonal and fragmented music-making has become.
Though deeply critical of the technological shortcuts being taken, Ambolley acknowledged that not all hope is lost. He praised artists like Kofi Kinaata for staying true to the core values of songwriting and storytelling, and for resisting the pressure to follow trends driven by algorithms and online hype.
Kinaata, he said, represents a balance between old-school discipline and modern relevance; something he believes more young artists should strive for.
Ambolley’s remarks come amid a wider conversation about the impact of AI, beat-generating software, and auto-tune on the integrity of music, both in Ghana and globally.
For him, the issue isn’t with technology itself, but with how it’s being used. He urged young artists to embrace technology as a tool, not a replacement for skill, practice, and cultural connection.
He also emphasized the importance of proper mentorship in the industry, lamenting that many emerging musicians are surrounded by individuals who fail to provide honest feedback or guidance. “If you don’t have good people around you, there’s no one to advise you when the path you’re taking is not the right one,” he noted.
In closing, Ambolley called for a return to fundamentals, where musicians are not just performers, but students of the art form. He urged Ghanaians to recognise the difference between artists who rely solely on digital tools and those who master their craft through dedication and study.
Gyedu-Blay Ambolley Picks Kofi Kinaata To Lead Highlife Forward
The future of highlife music continues to spark debate, with some suggesting the genre is fading while others argue that young artistes are keeping it alive.
For veteran musician Gyedu-Blay Ambolley, one artiste stands out as the torchbearer of the highlife legacy, Kofi Kinaata.
Speaking in a media interview, Ambolley said he has confidence in Kofi Kinaata’s ability to carry the genre forward.
“With the direction he wants to go, he is stepping out of the yo-yos. He is sticking to his highlife identity and even adding something to it. That shows me he is musically inclined enough to do it. We have to pass on the baton, and he is the only one I know who can.”
Gyedu-Blay Ambolley
He explained that his endorsement was based on years of closely following Kinaata’s work and craft, which he described as firmly rooted in highlife.
The conversation comes against the backdrop of an earlier attempt to crown a ‘Future King of Highlife.’
At the 20th Vodafone Ghana Music Awards, Kuami Eugene, who won Highlife Artiste of the Year, was symbolically crowned by veteran Amakye Dede.
However, Amakye Dede later clarified that the gesture was orchestrated by the event organisers and not his personal decision.
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