Veteran Ghanaian highlife musician Amandzeba Nat Brew has expressed concern about the growing commercialisation of Ghana’s music industry, warning that music is increasingly being treated like “fast food” rather than a carefully developed cultural and artistic product.

Speaking on Channel One TV on Sunday, May 31, 2026, the renowned “Wongbe Dze Ke” hitmaker said the current industry climate is pushing musicians to prioritise speed and profit over creativity, depth, and long-term artistic value.

According to him, this shift is negatively affecting the overall quality and sustainability of Ghanaian music.

He explained that many artists are now under pressure to produce and release songs quickly, often leaving little room for proper refinement or artistic development. This, he noted, has contributed to a trend where music is consumed rapidly but forgotten just as quickly.

“They don’t have enough space. You see, everybody’s quickly wanting to put something together and then get a profit from it,” he said.

Amandzeba used a striking metaphor to describe the situation, comparing modern music consumption to fast food—convenient and instantly satisfying, but lacking lasting impact or depth. He suggested that this approach undermines the cultural and artistic value that music is meant to carry.

“This is what they are reducing music to. It’s like fast food. Popcorn music, I mean, it comes, and fragrance is gone,” he added.

With a career spanning more than three decades, Amandzeba is widely regarded as one of the influential voices in Ghanaian highlife and contemporary African music.

His comments reflect long-standing concerns among veteran musicians who believe the industry is drifting away from its traditional role of storytelling, cultural preservation, and artistic expression.

However, he stressed that the issue should not be blamed solely on musicians. In his view, media promotion and broadcasting structures also play a major role in shaping how music is created, packaged, and consumed.

“It is not the doing of the artist, though. It is the presentation that you can have on our TVs and our radios,” he said.

According to him, media platforms often prioritise trends, short-term popularity, and commercial appeal over meaningful artistic content. This, he argued, pushes both emerging and established artists to tailor their work toward what is more likely to gain quick attention rather than long-term artistic value.

Beyond concerns about artistic quality, Amandzeba also raised the issue of foreign music being used in local advertising and media productions. He warned that the frequent use of international soundtracks, particularly from Europe and the United States, could have long-term economic implications for Ghana.

He explained that while such choices may appear modern or appealing in the short term, they often come with hidden costs in the form of royalty payments and intellectual property obligations.

“If I come onto your program and you are advertising a product and the soundtrack is from Europe or America, you might think you are cool today, but I’m telling you, when your economy starts balancing, they will descend on us because you are using Michael Jackson, you are using, you are using, they come for their royalties. You think you can pay?” he said.

His comments highlight growing concerns among creatives and cultural advocates about the importance of promoting local content and respecting intellectual property rights.

According to him, failure to prioritise local music not only weakens the creative industry but also exposes businesses and media organisations to potential financial and legal risks in the future.

Amandzeba also criticised what he described as a casual attitude toward intellectual property within Ghana’s creative space. He stressed that artistic works should be treated with respect and not handled as though they are disposable.

“I have spoken with people who really matter in our space, and you tell them, so you want to tell me that intellectual property can be used like tissue paper? Yeah. Somebody’s intellectual property,” he stated.

His remarks contribute to ongoing discussions about how Ghana can strengthen its creative economy through better regulation, improved copyright education, and stronger support for local artists.

Industry stakeholders have frequently called for better enforcement of intellectual property rights to ensure creators receive fair compensation for their work.

Overall, Amandzeba Nat Brew’s comments reflect broader tensions in Ghana’s evolving music landscape—between tradition and commercialisation, creativity and profit, as well as local identity and global influence. While acknowledging the changing dynamics of the industry, he is calling for a renewed focus on deeper artistic values and stronger respect for intellectual property.

His message ultimately serves as both a warning and a call to action: without deliberate efforts to protect and nurture the creative arts, Ghana risks losing not only the quality of its music but also the economic and cultural value it generates.