Belgium-based Ghanaian artiste Brave King has added his voice to the growing conversation about the state of Ghana’s music industry, aligning with recent comments by award-winning singer KiDi while also broadening the discussion to include wider issues affecting Ghana’s creative sector.
In a candid interview with Hitz 103.9 KiDi stated: “From where I sit, we don’t have an industry. We lack the structures that should form the Ghana Music Industry.” His words have since sparked widespread debate across social media and entertainment circles.
Brave King, reflecting on the matter, said KiDi’s concerns mirror what many artistes and stakeholders have felt for years. According to him, Ghana’s music space is overflowing with raw talent, but the absence of robust structures has made it difficult for that talent to be fully harnessed and monetized.
“KiDi spoke nothing but the truth. What we have in Ghana is a vibrant creative space, but not a fully functioning industry. The reason is simple: our structures are weak or non-existent. Artists are often forced to play the role of singer, producer, promoter, and manager all at once. That is not how a sustainable industry is built,” Brave King stated.
Brave King highlighted several key gaps holding back the Ghanaian music sector. Among them are:
Royalties and Copyright Systems - Musicians often struggle to earn fair compensation from radio plays, streaming, and performances because the royalty collection systems remain unreliable and inconsistent.
Record Label Support Unlike other countries, Ghana has very few functional record labels that provide long-term investment in artist development, marketing, and distribution.
Government and Policy Involvement Successive governments have made promises about supporting the creative arts, but implementation has been slow. Policies to protect intellectual property and create funding opportunities are still inadequate.
Distribution and Marketing Networks Many Ghanaian musicians rely solely on personal promotion or independent distributors. This limits their reach compared to competitors in markets with established distribution pipelines.
Brave King stressed that until these systemic issues are addressed, Ghanaian artists will continue to succeed individually through personal sacrifice rather than benefiting from an industry-wide system.
Drawing comparisons, Brave King pointed to Nigeria and South Africa as examples of how deliberate investment and structured planning can transform a music scene into a global powerhouse.
In Nigeria, internationally recognized record labels, strong streaming partnerships, and a growing festival culture have helped artists like Burna Boy, Wizkid, and Tems dominate charts worldwide. South Africa, with its Amapiano movement, has shown how a local sound can be exported globally through strategic marketing and collaborations.
“These countries didn’t just rely on talent. They built structures, invested in marketing, and created international partnerships. That is why their music is now everywhere. Ghana must take a similar approach if we want to compete,” Brave King emphasized.
Brave King’s statements in recent months have not been limited to the entertainment space. He has also written and spoken extensively about governance and accountability. In one of his widely discussed articles, he declared that “there are no messiah politicians in Ghana.”
He argued that citizens should not pin their hopes on political “saviours” but rather hold leaders accountable and demand transparency in governance. His remarks sparked conversation across social media platforms, with many agreeing that Ghana’s progress requires systems and accountability, not personality-driven politics.
This crossover into socio-political commentary highlights Brave King’s growing role as not just an entertainer but also a thought leader who uses his platform to speak on national issues.
Despite his strong voice on policy and structure, Brave King has not shifted away from his primary craft music. He continues to record and perform, preparing fans for the release of his new single, “I’ll Make You Hot.”
Described as an energetic, dance-driven track, the song is expected to dominate playlists in the coming months, particularly as it carries the flavour of a summer anthem. For Brave King, music remains his foundation, even as he takes on broader advocacy roles.
Industry insiders have noted that Brave King’s voice adds weight to the ongoing conversation. Many believe his perspective as a Ghanaian based in Belgium gives him a broader outlook on how structured industries operate abroad compared to back home.
Entertainment analysts argue that such advocacy is critical, especially when it comes from active artists rather than only from policy experts or cultural critics. By referencing KiDi’s original statement and adding his own insights, Brave King is helping to amplify a debate that could push stakeholders into action.
Brave King’s recent commentaries underscore a central truth: Ghana has the talent, but without structures, it cannot build a true music industry. His alignment with KiDi’s concerns reflects a growing consensus among creatives that the time for talk is over and the time for action is now.
As Ghana continues to showcase its musical potential to the world, stakeholders including government, private investors, managers, and artists must work together to create a sustainable ecosystem.
Brave King’s ability to balance his music with advocacy shows the dual role modern artists can play: entertaining fans while also shaping the national conversation. His words remind us that the future of Ghana’s creative arts depends not only on talent but also on the deliberate building of systems that ensure longevity, fairness, and global competitiveness.
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