The recent announcement of the nominees for the 2024 Telecel Ghana Music Awards has ignited a storm of controversy within the Ghanaian music industry. Among the plethora of reactions, one prominent voice stands out – award-winning Ghanaian musician, Amerado.
Amerado, a member of the Burnerz Music Group, took to his social media platforms to express his disappointment at being overlooked in several key categories, including Songwriter of the Year, Record of the Year, Most Popular Song of the Year, and Artist of the Year. His frustration stems from the exclusion of his hit song “Kwaku Ananse,” which he believes deserved recognition.
In a post that circulated widely on social media and entertainment news platforms, Amerado directed his query squarely at the board and academy responsible for selecting nominees for the prestigious awards. He questioned why the original version of “Kwaku Ananse” was omitted from consideration, despite its undeniable success and popularity.
“Kwaku Ananse” has been a dominant force on music charts for weeks, cementing its status as the reigning champion of the moment in Ghana. With over 6 million streams on Audiomack and 4 million on Boomplay, the song has captured the hearts of online music enthusiasts across the country. Its official music video on YouTube has amassed 1.5 million views and counting, further solidifying its widespread appeal.
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The snub of “Kwaku Ananse” has not only left Amerado feeling overlooked but has also sparked a chorus of discontent among his fans and supporters. Many have joined him in questioning the integrity and transparency of the nomination process, particularly in categories like Songwriter of the Year and Most Popular Song of the Year.
The controversy surrounding Amerado’s exclusion highlights broader issues within the Ghanaian music industry, including the subjectivity of award nominations and the challenges faced by artists striving for recognition. While accolades like the Telecel Ghana Music Awards are intended to celebrate and honor outstanding talent, they also risk overlooking deserving artists and contributions.
As the debate rages on, one thing remains clear: the omission of “Kwaku Ananse” from the list of nominees has ignited a conversation about the fairness and inclusivity of Ghana’s music awards landscape. Whether it leads to reforms in the nomination process or prompts a deeper examination of how artists are recognized and rewarded, only time will tell. But for now, Amerado’s question lingers in the air: why was “Kwaku Ananse” not nominated?
