Ghanaian music producer Eddy Kay Beatz has pointed out the disparity in songwriting prowess between Ghanaian and Nigerian musicians.
In an interview he had with Adomonline‘s Dennis Adu, he emphasised that many Ghanaian artistes struggle with their writing abilities, often limiting their subject to songs about women and their physical attributes.
He explained that, in contrast, Nigerian musicians showcase a diverse range of topics in their music, including travel, culinary experiences, lifestyle, fashion, and relationships among others.
Eddy Kay Beatz highlighted the distinct narrative style of Nigerian music, which he finds captivating and alluring.
“Their writing abilities are very low. It’s easy for Ghanaian artistes to write about women and their features. But you see the Nigerians, they can write stories about travelling, food, lifestyle, dressing, and even friendship. They have a whole way of writing music and it’s appealing. We are more plain with our songs…,” he said.
He further elaborated on the differences in musical delivery between the two countries, noting that while Ghanaian artistes tend to align themselves with the rhythm, Nigerian musicians seamlessly blend into the musical arrangement like instruments, creating a harmonious and compelling sound.
“The way Nigerians deliver… our people only try to follow the rhythm, but Nigerians behave like instruments on the beat. When you play some few things, they are good to go. They know they have vocal prowess, and they know the voice is the main thing, so they don’t want you to choke them with more instruments. All they want are melodies and powerful drums, and they are good to go,” he added.
Additionally, the music producer attributed this distinction to the Nigerian musicians’ confidence in their vocal abilities, relying on melodies and powerful drum beats to create impactful compositions.
Interestingly, he expressed optimism about the emerging talent in the Ghanaian music scene, singling out OliveTheBwoy, Black Sherif, and Camidoh as promising artistes including Kelvin Boy.
Reflecting on his extensive experience in the industry, Eddy Kay Beatz noted his contributions to the careers of various artists, including Yaa Pono, for whom he produced nearly 80 percent of his songs. He recently produced Camidoh’s Adoley, which is easily garnering numbers on various digital streaming platforms.
Advising Ghanaian musicians, especially the upcoming ones, he urged them to broaden their horizons and explore new creative avenues insisting that without the right approach, success remains elusive.
“There is one thing I always say, they should learn more… they are always in a box, and they are comfortable there, so they don’t want to go outside… if you study the industry, it is like the producers are going ahead of the musicians now. You don’t come to the studio and expect me to do this massive job and after that you post it somewhere on one site and copy the link and share it on WhatsApp, and after you relax,” he said.
Addressing the role of genres in music, Eddy Kay Beatz emphasized that confidence and a unique style are paramount, regardless of the genre.
He illustrated this point by suggesting that even if a traditional highlife song features elements of another genre like trap, the artist’s distinct essence would shine through.
Additionally, the producer highlighted the significance of the recording environment. Drawing from his personal experience, he stressed that the choice of studio and producer can profoundly impact the final outcome of a song.
Genres don’t matter. It’s more about you being confident. You need a unique style and you have to be confident. It doesn’t matter if you put Blacko on like Highlife, you will still feel that trap and that Blacko feeling in the song. That uniqueness!
He noted the distinct vocal quality in Nigerian music recordings, which often possess an analogue warmth compared to the sometimes overly digitized sound in Ghanaian recordings.
Eddy Kay Beatz urged aspiring Ghanaian musicians to expand their creative boundaries, collaborate with experienced producers, and select appropriate studios to enhance the overall quality of their music production.
“The studio you record also matters. When we were young we thought we could record anywhere. Now as a musician who wants to be professional. The producer you work with counts, likewise the studio.”
He also encouraged them to learn from the success of their Nigerian counterparts and develop a strong sense of uniqueness in their artistic expression.
He concluded, “Nigerians have powerful vocals in the mix, and it sounds more analogue but ours sound too digital. So where you record also counts. If you want to buy Waakye you have to go to the Zongo.”
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