The phrase 'the new normal' has somehow become synonymous with the Coronavirus pandemic.
It has affected life in just about every industry, mostly negatively, and inadvertently inspired new ideas – some of which were perhaps thought of before, but never to be implemented.
The live music scene in Ghana, like many countries around the world has suffered a huge blow due to the ban on public gatherings as part of measures to control the spread of the virus. This, in turn, has led to a proliferation of virtual events – streamed live from event venues or from homes of artistes and DJs straight to the screens of fans via social media.
On 2 May 2020, the third edition of 3 Music Awards was hosted at the 15,000 plus capacity Fantasy Dome in Accra without a live audience. This was the first award show held virtually in Ghana decades after such schemes were instituted in the country.
Streamed live on television and social media, the show reached an audience of 4 million people, with an impression of 11 million, it saw winners of awards make their acceptance speeches live via Zoom, the video conferencing app.
Bosom P Yung (Right) performing at 3 Music Awards 2020. |Photo credit: Sadiq Abdulai Abu.
Performing artistes on the night were Kidi, Cina Soul, Bosom Pyung, Camidoh and Daughters of Glorious Jesus.
Hosting the show virtually "was a good opportunity for us to deliver something refreshing and forward-thinking," explained Obed Boafo, public relations Officer of 3 Music Awards.
"And, we succeeded at that in a way we would have if we were to hold it with all those huge numbers we are used to. The end product was the fan experience and excitement we were able to deliver with the kind of quality that speaks to the standards we are made of as an organisation."
Boafo also added that the 3 Music Awards team had a "calendar to work with and had to respect that [and] other interested partners including the fans by delivering to them a standard television show, which became talk of town days after the event."
The live-streamed event came after a planned fan festival, which was to serve as a prelude to the main awards event, was postponed on 13 March, a day before it was scheduled to be held at the Accra Polo Grounds. Two days later, President Nana Addo Dankwa Akufo-Addo announced a ban on social gathering following the first reported cases of coronavirus in Ghana.
Media personality Vanessa Gyan advocates that the 3 Music Awards organisers are recognised and respected for taking a bold step to host the awards virtually considering that they would possibly be at a loss financially in showcasing "their love and dedication for the industry."
"We are in a different norm, a 'new norm' and we need to adjust to the times. I’m hoping sponsors will support other awards schemes and events moving forward who opt to have virtual shows," she adds.
Whilst the pandemic has indefinitely postponed in-person events, it has in a way deepened the relationship between artistes, and producers on one hand, and their fan base on the other hand.
#BehindTheHitz, the Ghanaian version of #Verzuz - an initiative of American producers, Swizz Beatz and Timbaland was well-received by fans when the first edition launched on April 1.
Hosted by Sarkodie, some 7,000 viewers logged in to watch veteran Ghanaian producers, Jeff 'Jay Q' Quaye and Nana Appiah 'Appietus' Dankwa on 1 April.
The numbers increased significantly in subsequent editions.
The musical treat invoked nostalgia with many people sharing memories associated with songs, and also unveiled the contributions of the personalities that shaped what is said to be the Ghanaian sound.
Music writer, Rahim 'SwayeKidd' Munir is of the opinion that virtual events help artistes tap unexplored ways to "interact with fans [and] sell themselves digitally."
The Instagram sessions accorded "respect" and appreciation of the craft of the producers, stated Munir. "We also came to appreciate the back stories to some of the records we loved."
Probably without intending to, the sessions also became an avenue for education about the Ghanaian music industry. The refrain amongst commentators included surprise at finding out about popular records that were not previously known to have been produced by either of the competing parties.
There were discussions about royalties, copyright, proper documentation, the state of systems and structures in the Ghanaian music industry, and why the likes of Jay Q and Appietus are not relatively wealthy considering how extensive their catalogue is compared to the artistes.
The Berne Convention (for the Protection of Literary and Artistic Works), an international agreement governing copyright applicable in Ghana that deals with the protection of the works and rights of creatives stipulates that producers own a percentage of publishing and song-writing credit for their work on songs as composers.
The agreement provides creatives including artistes, authors and songwriters with the means to control how their works are used, by whom, on what terms, special provisions and protection granted – meaning whether money is paid upfront or not, it doesn’t mean the producer has relinquished his or inherent intellectual property or ownership of the song.
Kofi 'iamBeatMenace' Boachie-Ansah, a founding member of Audio Engineers and Producers Association of Ghana and a songwriter, attributed the loss of revenue to a case of "a lot of people who work in the creative space [being] very ignorant about the laws that govern the very things that they are supposed to be professional at."
"There is no excuse to be ignorant especially in this day and age," he added.
The conversations also provided an understanding into why artistes need to take seriously the business side of their craft, and the right ways to seek approval for sample clearance.
Artiste Kidi in conversation with host of Lalafio, Lerny Lomotey prior to his performance. |Photo courtesy of Lerny Lomotey(Instagram)
Some four years ago, an idea was hatched by Ghanaian artiste, Okyeame Kwame in partnership with tech company, Vokacom – for an on demand streaming service named Lalafio – meaning 'a little music' in Ga.
In May 2020, it was launched at the height of the upending of revenue of creatives following restriction of movement as part of measures to control the spread of the coronavirus.
Okyeame Kwame hopes the service will mark a new turn in interaction between artistes and their fans, and also provide a sustainable means of revenue for stakeholders in the music industry.
For a weekly, renewal subscription fee of 5 Cedis, fans get to exclusively watch live performances of their favourite artistes including Okyeame Kwame himself, Akwaboah, Efya, Kuami Eugene, Adina, Nana Fynn, Kidi, Joe Mettle and Patch Bay Band from the comfort of their homes on phones, laptops and television.
The vision behind the service "is to create a platform where people can experience high quality entertainment and be interactive with technology. A one-stop portal that will bring our end users music, comedy, movies, music videos and more," the 2009 Ghana Music Awards Artiste of the Year winner explains. "The artistes and content producers get paid for their creativity whilst our audience get differentiated content."
Gyan believes the virtual events help put a spotlight on the "musical impact of an artiste" and also "showcase Ghanaian talent."
Reflecting on the future for virtual events, and the interaction between artistes and fans, she encourages the need "to think outside the box and use this time to also perfect and find innovative ways to showcase your craft” whilst connecting “to their fans on a more personal level."
Okyeame Kwame is confident that Lalafio will be such a platform. "Lalafio is for all of us", he declares. "We hope to keep the torch of creativity still burning."
Originally published by newdawnonline.org in July 2020
Comments