Veteran Ghanaian rapper Okyeame Kwame has raised concerns about the future of Hiplife, warning that the genre could gradually disappear if younger artistes fail to identify with it.
Speaking on Point of View with Bernard Avle on Channel One TV, the award-winning musician stated that the survival of Hiplife now largely depends on whether the new generation is willing to adopt and promote the genre.
Future of Hiplife in Question
According to Okyeame Kwame, many young Ghanaian artistes are increasingly branding their music under genres such as Afrobeats, hip-hop, and Afro-pop instead of Hiplife.
He mentioned popular acts including Sarkodie, Amerado, Lasmid, and Olivetheboy as part of the new wave, noting that it is unlikely they will formally embrace the Hiplife label.
“As a music genre, it is only going to stay if younger people decide to call their music Hiplife,” he explained.
“But as long as they identify as hip-hop, Afrobeats, or Afro-pop artistes, then Hiplife is gone.”
Blame on the Pioneer Generation
Okyeame Kwame also acknowledged shortcomings within his own generation of artistes, stating that pioneers failed to establish the structures needed to sustain the genre.
He cited legendary groups and artistes such as VIP, Obrafour, and Reggie Rockstone, explaining that while they enjoyed the success of the moment, they did not build long-term systems to support future artistes.
“We failed terribly at creating structures to keep it alive because we were enjoying the moment,” he admitted.
Challenges in the Digital Era
Highlighting another major issue, the rapper pointed out that Hiplife is not even recognised as a category on major global streaming platforms such as Spotify, Amazon Music, and Apple Music.
According to him, this lack of categorisation forces young artistes to label their music under broader genres, making it difficult for Hiplife to grow as a distinct identity.
“When a young person uploads music, there’s no option for Hiplife. It goes under Afro-pop or alternative hip-hop,” he explained.
He warned that this situation could discourage artistes from pursuing Hiplife, as it may limit their commercial opportunities.
Can Hiplife Be Revived?
Despite the challenges, Okyeame Kwame believes the genre can still make a comeback—but only under certain conditions.
He suggested that pioneers may need to return with successful Hiplife releases to reignite interest, or the industry must find ways to make the genre economically viable for emerging artistes.
“The future of Hiplife can only come back if artistes like myself and others release Hiplife music again and it becomes successful,” he said.
The Bigger Picture
Hiplife, a genre deeply rooted in Ghanaian culture, has played a significant role in shaping the country’s music industry. However, its future now appears uncertain as global trends and rebranding continue to influence younger artistes.
Okyeame Kwame’s remarks highlight a broader conversation about legacy, identity, and sustainability in Ghana’s music industry, raising important questions about how local genres can survive in an increasingly globalised digital landscape.
