Richmond Adu-Poku: Do Ghanaian Artistes Have a Coherent Global Music Strategy?

In today’s hyper-competitive music economy, international success is no longer a happy accident or a purely organic viral phenomenon. It is a meticulously engineered outcome, the result of deliberate policy choices, strategic partnerships, relentless entrepreneurship, and an almost obsessive attention to detail. The era where raw talent alone could catapult an artist from local prominence to global relevance is largely behind us. The world is too crowded, too data-driven, and too strategically savvy for that.

This reality raises an urgent, and often uncomfortable, question for Ghana’s creative economy: Do Ghanaian artistes operate with a coherent and intentional global music strategy, or is the industry still relying on the hope that exceptional talent will somehow magically break through the global noise on its own?

There is no doubt about Ghana’s talent reservoir. From Accra to Kumasi, Tema to Tamale, the nation consistently produces artistes with world-class songwriting, innovative sonic signatures, and performance caliber that can confidently hold any international stage. The increasing doubt, however, concerns whether this talent is being systematically packaged, amplified, and positioned for sustained global relevance. Talent is the raw material; strategy is the machinery. Without the latter, even the richest creative resources risk remaining spectacular yet invisible.

Introduction: The Global Stage Is Not a Level Playing Field

The international music market is a complex ecosystem governed by streaming algorithms, playlist curators, international booking agencies, sync licensing teams, and global public relations networks. Breaking into this ecosystem requires more than a hit song; it demands a global music strategy—a coordinated plan for international market penetration, audience development, and long-term brand building.

For observers like industry analyst Richmond Adu-Poku, the conversation around Ghanaian music’s global potential is framed by a critical gap: the difference between having internationally viable art and having an internationally viable export system. This article will dissect that gap, examine the structural and strategic factors at play, compare Ghana’s approach with regional leaders Nigeria and South Africa, and propose a actionable framework for building a sustainable music export strategy from Ghana.

Key Points: The Core Argument

• Talent Abundance vs. Strategic Deficit: Ghana possesses world-class musical talent, but lacks a coordinated system to transform that talent into consistent global market share.
• The “Tech” is Strategy: The “international tech” referenced is not a digital tool, but a holistic playbook encompassing policy, investment, data analytics, touring, and international partnerships.
• Regional Benchmarking: Nigeria (Afrobeats) and South Africa (Amapiano) have successfully treated music as a national soft-power and economic export, with government and private sector alignment.
• The Grammy Indicator: Absence from major global award conversations is less about quality and more about strategic positioning and sustained international campaign investment.
• Digital Signals vs. Systemic Follow-Through: Artists like Black Sherif prove global listener appetite exists, but the ecosystem often fails to capitalize on early digital traction with proper international rollout.
• Path Forward: Requires policy alignment, ecosystem collaboration, data-driven decision-making, and a fundamental shift in how artistes and managers view global ambition.

Background: How Nations Build Music Superpowers

Nigeria: The Afrobeats Export Model

Nigeria provides the most compelling modern case study for intentional music export. Over the past 15 years, Afrobeats has transcended being a genre to become a potent cultural and economic export. This was not accidental. It was fueled by:

• Economic Policy Integration: The Nigerian government, through agencies like the Nigerian Export-Import Bank (NEXIM) and the creative arm of the Ministry of Information and Culture, has increasingly recognized the creative economy’s GDP contribution. The sector contributed over ₦239 billion to Nigeria’s GDP in 2022, with music and film as primary drivers.
• Diaspora as Amplifiers: A massive, globally dispersed Nigerian diaspora actively consumes, promotes, and creates demand for music from home, providing a ready-made international audience base.
• Private Sector & Label Investment: Major labels (both local giants like Mavin Records and international majors with local offices) invest heavily in international playlist pitching, global PR, and strategic collaborations with Western artists.
• Lagos as a Brand: The city’s identity is now intertwined with Afrobeats, driving tourism and global cultural interest. Music is explicitly part of Nigeria’s soft power and international branding strategy.

South Africa: Institutionalized Global Reach

South Africa’s approach is more institutional and infrastructure-focused. Having long had a developed entertainment industry, its global push for genres like Amapiano has been characterized by:

• Structured Publishing & Royalty Systems: Robust collection societies (like SAMRO) and publishing frameworks ensure revenue flows back to support further investment.
• Government-Backed Export Programs: Agencies like the Department of Trade, Industry and Competition (DTIC) and the Export Marketing and Investment Assistance (EMIA) scheme specifically support creative businesses to attend international trade shows and festivals.
• Tourism Synergy: Tourism South Africa explicitly leverages music and culture in its global marketing, creating a virtuous cycle where international visitors experience the culture firsthand.
• Festival & Circuit Dominance: South African DJs and acts are systematically booked for major European festival stages (like Tomorrowland, Coachella) and club circuits, creating a sustained presence.

Analysis: The Ghanaian Conundrum

The Talent is Undeniably World-Class

To assert that Ghana lacks talent is factually incorrect. The country’s musical output is remarkably diverse and high-caliber:

• Genre Innovation: From the global revival of Highlife-infused sounds to the raw energy of Ghanaian Drill (Asakaa), soulful alté, and intricate hiplife, artists are creating distinct, authentic sounds.
• Songwriting & Performance: Ghanaian artists are renowned for melodic sophistication, lyrical dexterity (in English, Twi, Ga, and other languages), and electrifying live performances.
• Proven International Appeal: The global diaspora’s voracious appetite for Ghanaian music at parties, concerts, and on social media is undeniable evidence of potential.

The problem is not the product’s quality; it is the absence of a factory designed to package and ship that product worldwide at scale.

Structural and Strategic Gaps

Several interconnected factors hinder the transition from local/regional success to global player status:

1. Fragmented Ecosystem: The industry lacks a unified body or coalition dedicated to music export. Efforts are often siloed—artist managers try one-off tactics, labels focus on domestic streaming, and government support is sporadic and symbolic rather than strategic.
2. Underfunded Export Infrastructure: Unlike Nigeria or South Africa, there is no dedicated “music export office” with a budget for international showcase festivals (like SXSW, MIDEM, WOMEX), global PR retainers, or targeted playlist pitching campaigns.
3. Inward-Facing Business Models: Much of the industry’s revenue and focus remains on the domestic market and regional (West African) touring. The investment required for a proper international campaign—including visa costs, international touring teams, and foreign PR—is often seen as a risk rather than a necessity.
4. The “Viral Mirage” Mindset: There is a persistent, dangerous hope that a viral TikTok or YouTube moment will automatically lead to global stardom. This ignores the crucial “follow-through” phase: securing international distribution, booking agents, sync licenses, and media coverage that converts a moment into a career.
5. Artist & Managerial Intent: Global ambition must be a deliberate, long-term business goal from the artist’s side, supported by a manager with an international network. Too often, “going global” is an aspiration, not a structured plan with allocated budget and KPIs.

The Grammy Silence: A Symptom, Not the Disease

The absence of a Ghanaian nominee in major Grammy categories in recent years is frequently cited as a failure. While awards are not the sole measure of success, they are powerful industry catalysts. A nomination:

• Triggers massive global media coverage.
• Commands the attention of international festival bookers and talent buyers.
• Increases value for sync licensing in film, TV, and ads.
• Boosts catalog streaming for years.

Ghana’s absence from this conversation is not a verdict on quality. It is a direct reflection of strategic positioning. Getting a Grammy requires:

1. Submitting to the correct categories via the Recording Academy.
2. Active campaigning to the 12,000+ voting members (requiring international PR, listening parties, and direct outreach).
3. Having the recording released through a distributor with the technical metadata and reporting required for eligibility.
4. Sustained presence on international platforms and in international media before the submission deadline.

These are all logistical and strategic steps that require funding, expertise, and a long-term plan—precisely the elements that are often missing.

Practical Advice: Building the “International Tech”

“International tech” is a metaphor for a system. Building it requires action from multiple stakeholders:

For Policymakers & Industry Bodies

1. Establish a Dedicated Music Export Office: Modeled after similar bodies in the UK (UK Music) or Denmark (Music Export Denmark), this office would have a clear mandate: to fund and facilitate international market entry for Ghanaian artists. Its budget should come from a combination of government grants and a small levy on domestic music revenues.
2. Integrate Music into National Trade & Diplomacy: The Ministry of Trade and Ministry of Foreign Affairs should include music in trade delegations and cultural diplomacy programs. Ghanaian artists should be official envoys at international cultural festivals and economic forums.
3. Create an Export Grant Program: Offer matching grants to artists/labels who can demonstrate a viable international rollout plan (covering costs for international PR, festival travel, visa applications, and marketing).

For Labels, Managers, and Artistes

1. Adopt a Data-Informed International Release Strategy: Use Spotify for Artists, Apple Music for Artists, and YouTube Analytics to identify where international listeners are already streaming. Target those specific territories first with localized social media ads, playlist pitching, and press outreach.
2. Invest in International Touring as a Core Business: A global strategy is not just digital; it’s physical. Build a touring circuit that includes major diaspora hubs (London, New York, Amsterdam, Toronto) but also targets non-diaspora audiences in Europe and North America through festival slots and strategic venue bookings.
3. Strategic Collaboration: Partner with international artists, producers, and songwriters not just for credibility, but for access to their networks, teams, and audiences. These collaborations should be strategic, not random.
4. Professionalize International PR: Retain a PR agency with proven connections in target markets (e.g., UK press for Europe, US indie/blog press for North America). This is non-negotiable for breaking beyond the diaspora bubble.
5. Language & Storytelling: While Twi, Ga, and Ewe are not barriers (see the global success of K-Pop, Latin music), the *storytelling* around the music must be accessible. Invest in high-quality, subtitled video content and English-language press materials that explain the cultural context and artistic intent.

Leveraging the Digital Signal: The Black Sherif Case Study

The trajectory of Black Sherif’s “Iron Boy” era in 2025 offers a blueprint. His emotionally raw, authentic storytelling resonated globally via organic digital discovery (YouTube, TikTok). The “signal” was clear. The “follow-through” that was missing at a national ecosystem level included:

• A coordinated international press campaign timed with the viral surge.
• Securing spots on key international editorial playlists beyond the “African” or “World” bubbles.
• Booking a strategic series of international live dates (not just one-off diaspora shows) to capitalize on interest.
• Pursuing high-value sync placements in international media to cement the song’s place in the global cultural moment.

An ecosystem with an “international tech” would have had these elements pre-planned and ready to deploy the moment the digital metrics spiked.

FAQ: Common Questions on Ghana’s Global Music Ambitions

Is language (Twi, Ga) a major barrier to global success?

No. Global music consumption trends show a strong appetite for non-English music (K-Pop, Spanish, French, Portuguese). Authenticity is a selling point. The barrier is not the language itself, but the *packaging*—providing accessible storytelling, subtitles, and context so international listeners can connect. The focus should be on making the emotional core of the music transcendent.

Does Ghana need to copy the Nigerian Afrobeats sound to go global?

Absolutely not. Ghana’s strength lies in its sonic diversity. The global strategy should leverage this uniqueness, not homogenize it. The goal is to position Ghana as a hub for innovative sounds, not a producer of a single genre. The strategy must be tailored to the artist’s specific sound and identity.

Are international awards like the Grammys the ultimate goal?

They are a significant milestone, not the ultimate goal. The ultimate goal is sustainable global market share, revenue streams, and cultural influence. Awards are a useful tool for accelerating that process, but building a lasting international career is about consistent output, touring, and fan engagement over years, not a single nomination cycle.

What is the single most important step Ghana can take?

Establishing a dedicated, well-funded, and industry-led Music Export Office with a clear mandate and metrics for success. This body would coordinate policy, fund strategic initiatives, and provide the “central brain” that the currently fragmented ecosystem lacks.

Conclusion: From Aspiration to Alignment

The question “Do Ghanaian artistes have an international tech?” must be answered with a clear-eyed “not yet.” The nation’s talent is a proven, world-class asset. The missing component is the systematic, aligned, and well-resourced machinery to turn that asset into a consistent global export.

The path forward requires a paradigm shift. Music must be treated not just as culture or entertainment, but as a serious economic sector and a pillar of national branding. This demands:

• Policy that recognizes music as an export commodity.
• Investment in international infrastructure and professional services.
• Collaboration between artists, managers, labels, media, and government.</li