Three decades on, there is still an air of uncertainty regarding one of Ghana’s most prominent music genres, Hiplife. While people continue to argue about who did what, when and what happened, the real work of pivoting the genre is still yet to be done. Or so these writers thought until very recent developments.
Unless you have been living under a rock, we all witnessed the rejuvenation of Ghanaian music through the efforts of Life Living Records through their Asakaa music. Their exploits, which are currently recognised as Ghanaian Drill, unbeknownst to many, are nothing short of Ghana’s darling genre, Hiplife. While this may come off as a controversial take, a quick read on the tenets of Hiplife will give you all the clarity you need. That being said, this article celebrates the genre and what it has done for our artistes and the music industry in general. While we celebrate the genre, it has become vital that we as a people also give back to the genre and the people who birthed it.
As much as Hiplife has done for the industry, there is little appreciation for the genre, especially in recent times when Afrobeats is the shiny toy everyone wants to play with. We are not telling people not to play with their new toys, but everything happening validates the concern that Ghanaians love to abandon their own and chase after what others have made shiny. Again, this might be controversial, as people will argue that we have contributed to Afrobeats, which cannot be disputed. Still, the basis of this article is that if we have contributed to the amplification of Afrobeats, why are we not doing the same for our own?
If recent things have shown anything at all, it is the fact that Hiplife has never been dead, which some older musicians will want us to believe. Instead, the genre continues to live on and will continue to do so as long as Ghanaians make music. The issue Hiplife is currently facing is recognition. Why do we say this? Look around you and point out how many songs are tagged hiplife. How many Ghanaian artistes tag themselves as hiplife artistes? Until recently, when artistes understood just how expensive it had become to market Afrobeats songs, people shied away from identifying as hiplife. People who identified as highlife artistes were looked at a certain way or seen as cosplaying as old men. But thankfully, that is changing as more artistes, especially the new generation of artistes, are embracing highlife and hiplife as their own.
Artistes can be amusing sometimes; they always switch to what is hot and identify as that. Very few artistes know what they identify as, and they stick with it. They push what they identify as and make it resonate with their audience. This is exactly what needs to happen with hiplife. Artistes, producers, DJs, and industry stakeholders must be intentional about branding, marketing, and amplifying the genre. Ironically, during the Detty December periods the past couple of years, we have experienced old hiplife tracks being played at events, pubs and festivals to thrill fans. The audience is there despite the generation gap, creating room for nostalgia. Additionally, we have seen a lot sampling and interpolations of old hiplife records. However, there are missing elements that need to be added to further the course.
If there is anything the recent global rise of Afrobeats and Amapiano has shown, it is the power of consistent branding and unified promotion. Nigerian artistes have rallied around Afrobeats as a collective identity, ensuring that even when they blend it with other sounds, it remains recognisable as Afrobeats. The same strategy must be applied to hiplife. Artistes need to own hiplife boldly, incorporate it into their branding, and push it as the global export it can be.
One way this can be achieved is through sampling and proper documentation. The pioneers of Hiplife need to be approachable and open to allowing new-age artistes to sample their work rather than being hostile or placing unreasonable conditions on usage. At this stage, their focus should be on legacy—ensuring their impact is cemented in history rather than obstructing the genre’s evolution. Sampling is one of the most effective ways to keep a genre alive, and if done right, it bridges the past and present seamlessly.
However, new-age artistes also have a responsibility. They must be intentional about giving credit where it is due, properly documenting samples, and taking the time to refine and execute them properly. Rushed, poorly executed samples only dilute Hiplife’s legacy and contribute to the perception that it lacks innovation. Proper sampling can breathe new life into classic Hiplife records and reintroduce them to a younger audience while maintaining their originality.
Even without samples, artistes like Kweku Smoke, AratheJay, Kelvin Black, Joey B, Fameye, and the Life Living records artists, among many others, have been churning out Hiplife songs. They may not tag it as Hiplife, but the elements and mould of the songs are Hiplife. The question remains: how committed are they to amplifying the genre and giving it the much-needed recognition? Kudos to the artists who have held on to the vision and have been amplifying the sound.
Ghanaian DJs have been the real custodians of Ghanaian music and the heritage genre over the years. Although many DJs prioritise playing what is trending to appease the audience’s taste, often at the expense of local sounds, we have seen others championing local sounds. However, just as Nigerian DJs have championed afrobeats by consistently playing and promoting it in clubs, on radio, and at events, we need Ghanaian DJs to take up more responsibility and make a conscious effort to include hiplife in their sets. A genre thrives when it is constantly heard. The more people hear it, the more it becomes ingrained in the culture.
Streaming platforms and digital distribution are also essential in the intentional push for hiplife. Many Ghanaian artists classify their music under generic or broad categories like Afrobeats or Hip-Hop when uploading their songs to streaming services. It makes it difficult for Hiplife to be recognised for its distinct sound. Though viable for marketing reasons, it lacks context too often. If artists start tagging their music properly and curating Hiplife playlists, it increases visibility and gels its place in the digital space.
The last set of people who should be more intentional is the industry, which consists of consumers, promoters, award shows and media platforms. We all have a role to play in amplifying what is ours. We need some unified internationality in drumming home our music and what it represents. We all saw the outrage, excitement and corrections that arose after the Grammy piece about hiplife. Where is that same outrage, correction and excitement? Or do we only reserve such emotions when certain platforms talk about our culture and some people do not make the cut? The “outside gentility, home cry” attitude must stop.
Being intentional with Hiplife means acknowledging its past, appreciating its present, and actively working towards securing its future. It requires effort from all corners of the industry—artists, producers, DJs, media, event organisers, and even fans. The global stage is more accessible now than ever before. If we can amplify other genres, we can do the same for ourselves. The question is, are we ready to put in the work?
