What’s Wrong with the music scene in Sekondi-Takoradi and the Western Region?

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I write this article not as an outsider, but as someone who has spent years observing, working with, and understanding the music landscape of the Western Region.

I’m not here to point fingers. I am here to spark real, necessary conversation. This essay comes from a place of deep respect for every artist, every sound engineer, every producer, and every music lover pushing the culture forward.

Let me make this clear from the start: the artists mentioned in this piece are in no particular order, and they are not more important than any other hardworking creative in our space.

This is a spotlight, not a ranking. Every genre matters — Highlife, Hiplife, Afrobeats, Gospel, Hip-Hop, Reggae, Drill, Traditional, Amapiano, Soul, R&B — they all count. The Western Region is diverse, and our sounds are too.

From the streets of Kwesimintsim to the legacy of legends in Sekondi, the Western Region has always been a music powerhouse. This is the home of Highlife icons like Gyedu-Blay Ambolley, Pozo Hayes, A.B. Crentsil, C.K. Mann, and Papa Yankson. These legends shaped the sound of a nation. Today, the story is different. The fire is still here — but the system is broken.

Lack of Strategic Industry Support & Investment:

Unlike Accra, Sekondi-Takoradi lacks the foundational infrastructure to elevate artists. No major record labels, no music business schools, no aggressive PR agencies, and no professional marketing firms invest long-term in our talent. Studios exist across the region, but few provide artist development or branding support.

Weak Artist Branding & Digital Presence:

Most artists lack structured branding and a digital strategy. In 2025, if you’re invisible online, you’re invisible everywhere. Let’s look at the numbers:

Kofi Kinaata: 3M+ IG followers. Consistent branding. Latest release: Kofi O Kofi EP
Ayesem: 21K+ IG. Strong lyricist, dropped Legacy III EP
Qwesi Flex: Buzzing locally with Jungles & Beaches EP, digital rollout needs work
Casta Troy: 2.2K IG. Loyal fanbase, limited online footprint
Corp Sayvee: 6.7K IG. Impactful voice, but music visibility is inconsistent

Many artists still post randomly, with no content schedule or engagement plan. Without visuals, reels, fan activation, and storytelling, even great music disappears.

Local Media Play but Don’t Promote:

Our radio and TV stations spin local songs but don’t champion the artists. Few interviews, no music storytelling, no proper artist profiling. Media needs to amplify, not just play.

No United Front, No Momentum:

The region is filled with solo acts and silent competition. Unlike Accra and Kumasi, where collectives and collaborations fuel movements, the West is fractured. No formal artist union. No joint projects. No collective brand.

Locked Out of National Platforms:

VGMA? 3Music? National playlists? Western artists are rarely seen or heard. Even Kinaata, with all his accomplishments, gets snubbed sometimes Case in point the current VGMA controversy. The rest? Almost invisible.

Predictable Sound, Low Innovation:

Our culture is rich — Fante, Nzema, Ahanta, Sefwi. But few are blending these roots with modern sounds like Afrobeats, Amapiano, or Drill. The sound is often safe. We need sonic risk-takers. We need cultural fusion.

Egos and Inferiority Complex Are Killing the Vibe:

There is a silent virus hurting our growth: ego and insecurity.

Too many artists in the Western Region operate in silos out of fear or pride. Some believe they deserve more recognition than others. Some feel inferior to Accra-based artists and stay quiet, playing it safe. This mindset has to go.

The Tension Between DJs and Artists:

One of the most difficult conversations we must have is about the strained relationship between artists and radio personalities. I’ve spoken to both sides, and here’s the truth:

Many radio presenters and DJs say local music often lacks quality and competitiveness. They argue that artists do not promote their songs well, do not show up for interviews, and demand outrageous fees when booked even though they haven’t built a strong brand yet. Some radio hosts have expressed frustration, saying some artists act entitled and are unwilling to build gradually.

On the flip side, artists say DJs demand money before even playing a song. Others say certain DJs prioritize songs from outside the region simply because those artists pay more or offer other favors. This creates a toxic ecosystem where local talent is undervalued, and local platforms are under-utilized.

So How Do We Fix It?

Build a DJ-Artist Alliance: Let’s set up a monthly forum or mixer between DJs, presenters, and artists — to network, listen to new music, and reset the relationship.
Establish a Western Region Music Charter: A code of conduct for DJs and artists. No pay-for-play unless formalized as marketing. No ghosting media invites. Mutual respect must lead the way.
Train & Support Radio Creatives: Equip DJs and presenters with promo kits from artists — EPKs, clean audio files, bios. This makes it easier to support local talent.
Reward Commitment: Create an annual “Supporter of the Scene” award for the radio host or DJ who best supports homegrown music.
Educate Artists on Media Etiquette: No one owes you airtime, you earn it through consistency, humility, and professionalism. Show up for interviews. Engage with fans. Be coachable.

This is not about blame. It’s about partnership. The media and the artists are both custodians of the culture. If we collaborate, we all win.

How Do We Fix It?

Build confidence through coaching: Artists need mentorship to understand their self-worth. They must be reminded they come from a legacy of greatness.
Celebrate each other: We need to normalize reposting fellow artists, promoting each other’s work, and doing features. Unity is strength.
Create safe creative spaces: A regional music hub where collaboration is encouraged, and competition is healthy, not toxic.
Highlight wins: Every milestone — 10K streams, a feature, a good video — must be celebrated across platforms.

Case Study: Kumerica & The Asakaa Boys

Before we get into Kumerica, we must mention a powerful initiative that started here but sadly didn’t last- Westside Legacy.

It was a brilliant idea uniting the biggest artists in the Western Region under one movement. The vision was to amplify our sound, culture, and artists on a national and global scale. But ego, mistrust, and lack of structure brought it crashing down.

Why It Failed:

Ego over vision: Some artists saw themselves as too big to be part of a group or felt others were being favored.
Mistrust: Accusations of unfair treatment, poor communication, and lack of transparency led to internal breakdowns.
No clear leadership: Without a neutral management body to guide decisions, things fell apart.
Inconsistent commitment: Some members weren’t fully invested, while others carried the load.

How to Fix It:

Appoint independent leadership: A professional, non-artist-led management team can coordinate fairly.
Create a binding code of collaboration: Everyone signs on to a shared vision, rules, and expectations.
Equal promotion structure: Everyone gets their moment. Campaigns should rotate focus across members.
Transparent communication: Weekly or monthly meetings, content calendars, and reporting systems.
Celebrate collective wins: Shift the narrative from “me vs. them” to “us for the region.”

If Westside Legacy is revived with structure, humility, and purpose, it can become a cultural force.

Now, let’s look at a similar idea that succeeded.

In 2020, Kumasi took the world by storm. Why? Because a group of confident, self-aware young artists believed in their sound and their city. They called it Kumerica. They wore it like a badge of honor.

The Asakaa Boys didn’t wait for Accra. They built a movement:

Shared branding
Group identity (Asakaa)
Constant collabs and music videos
Social media synergy
A unique Ghanaian Drill sound

Now they’re on the biggest stages. And they still do it together.

The Western Region can do the same. We have the talent, culture, and identity. We just need to shake off the ego and rise together.

Why Did Kofi Kinaata Break Through?

He played it smart:

Aligned with High Grade Family early
Created a unique, poetic Fante sound
Built media ties and a visual brand
Worked with national platforms
Hired a strong management team

What Needs to Change Now:

Build a Music Business Hub in Takoradi. A physical and digital space for artist branding, recording, mentorship, content creation, and music business education.

Create the Western Creative Union. A coalition of artists, DJs, producers, managers, promoters, stylists, and creatives to coordinate growth and representation.

Launch a Regional Artist Database Track every active artist: names, genres, IG/TikTok numbers, latest songs, management contacts. Use it to pitch for deals, stage slots, and brand features.

Host a Signature Festival Start “Fante Wave” or “Golden Coast Vibes.” Rotate it across towns. Celebrate legends. Showcase the next wave. Invite scouts, execs, media.

Train Artist Teams Build a talent pipeline: PR agents, content creators, digital marketers, road managers. No artist can win alone.

Demand National Visibility. Form a task force to lobby for VGMA nominations, 3Music features, and media slots. We’ve earned it. Let’s claim it.

Final Word: From Legends to Legacy

The Western Region gave Ghana its Highlife heartbeat. We lit the match, now we must keep the fire burning. This generation can lead a new musical revolution. But we need to move smart, united, and loud.

The talent is here. The future is ours. Let’s make the Westside wave unstoppable.