Ghana Music Awards: Urban gospel category sparks debate

The Telecel Ghana Music Awards (TGMA) have stirred significant conversation with the introduction of the Urban/Contemporary Song of the Year category. While the move has been widely applauded by many in the urban gospel community, it has also attracted criticism from some industry figures.

The new category aims to spotlight Urban Gospel, a vibrant and evolving genre within Ghana’s music scene. Leading voices in the space, like Joseph Smart Amenuveve Kwodwo, popularly known as JSmart, have praised the TGMA Board for recognizing the contributions of Urban Gospel artistes. However, critics, including Caleb Nii Boye, Roland Amartey, and Ezekiel Tetteh, argue that more pressing reforms—such as separating the Reggae/Dancehall Song of the Year category into distinct genres—should have taken precedence.

JSmart Defends Urban Gospel’s Growth

JSmart, curator of the Urban Gospel Rave show, has been vocal in defending the new category. Taking to social media, he highlighted the genre’s remarkable progress in 2024, citing that over 50 Urban Gospel artistes released songs, many of which were followed by strategic promotional campaigns.

He pointed to standout tracks such as Kobby Psalms’ Never Forget, H. Hardy’s Alive, Scott Evans’ Grateful, Raf Able and Cwesi Oteng’s You No Dey See, Quabena Asare’s Radical for Christ, and Team Eternity’s Defe Defe. JSmart emphasized the consistency and investments made by these artistes, noting the release of high-quality visuals and albums.

“Urban Gospel artistes are not just releasing music; they are elevating the game through meaningful investments. Scott Evans is recording overseas, Jonn Winner is traveling to Dubai and South Africa for visuals, and they are headlining events that command attention,” he said.

Debate Over Reggae and Dancehall

The introduction of the Urban Gospel category has reignited calls for the TGMA Board to address perceived disparities in the Reggae/Dancehall category. Critics argue that combining the two genres undermines the distinctiveness of each.

“Reggae and Dancehall have unique styles, audiences, and histories,” said Caleb Nii Boye in a recent interview. “Separating them would encourage healthy competition and further growth within each genre.”

However, JSmart dismissed these concerns as misplaced, questioning the level of output and investment from Dancehall artistes beyond a few prominent names like Stonebwoy, Shatta Wale, and Samini. “Apart from these big three, which other Dancehall artiste has made significant strides in 2024?” he asked.

The Rise of Urban Gospel

Urban Gospel artistes have increasingly dominated Ghana’s music landscape, securing spots on major event platforms. According to JSmart, their influence extends beyond music, as they continue to headline their own events and appear on stages that have traditionally been challenging for other genres to access.

“These artistes are headlining major events and creating a buzz that Dancehall artistes currently struggle to match. The TGMA Board’s decision is a reflection of the genre’s rising prominence,” JSmart said.

Looking Ahead

The TGMA reforms underscore a broader effort to reflect the evolving dynamics of Ghana’s music industry. While the debate over Reggae and Dancehall persists, the inclusion of the Urban Gospel category marks a pivotal moment for the genre and its growing fanbase. As the awards ceremony approaches, all eyes will be on how the new category impacts the recognition of Urban Gospel’s contributions and whether it paves the way for further inclusivity and reform in the future.