A quarter of a century in the life of anyone is worth celebrating and Charter House, the organizers of the Telecel Ghana Music Awards (TGMA), celebrated it in a grand style for its achievements, despite the myriad problems emanating from the award scheme after every “successful” execution of it.
Now, let’s delve into the diatribes of the TGMA25 conversations.
TARGET AND EXECUTION
A music award show of 25 years, is supposed to reflect on the basis for which it was established. Its implementation and execution, to reflect on its core mandate giving preference and reverence to the Connoisseurs of the music industry who have gone through the production line of the organizers for that period.
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The country Ghana has lost a significant number of its versatile and legendary musicians over the 25 years of the existence of this award scheme and I was hoping that a time slot could have been allotted to budding musicians nominated under the year of review, to perform some of the songs of fallen heroes like that of CK Mann, Paapa Yankson, Jewel Ackah, AB Crenstil, Nana Ampadu, Osei Vasco, Nana Tuffuor, Thomas Frimpong, Konadu, Akwaboa, Awurama Badu, George Darko, KK Kabobo and others. This will remind the current generation that their music works will not be in vain even if they transcend into the other world. It gave the 25th Anniversary a little smack.
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Though the night was lit with the razzmatazz of any award scheme with the red carpet slot, paying attention to certain details, were missing. This was a show where people paid money to go and have fun and witness their favourite musicians win. However, some of the protocol arrangements lacked finesse.
Some patrons had to beg ushers before being ushered to their seats coupled with disjointed queues of patrons wishing to enter the auditorium with sweat, washing the faces of some heavy clay-laden make-ups of some beautiful daughters of Adam and Eve.
PERFORMANCES
One particular occurrence I’ve noticed over time in award schemes is that the performances required from the billed artists are evaluated based on their craft, skill delivery, and versatility.
On the TGMA25 night, the good, the bad and the ugly spectre, consisting of scripting, production and execution, had some serious flaws, especially, in the area of sound and performance.
Some of the “A list” artistes like my own King Promise and Kwame Eugene, had bad moments with their pitches on their songs on their live performances.
Naacee, Efya, FRA band, Kwabena Kwabena, Fameye, Akwaboa, Eno Barony, Epixode and the Artiste of the Year, Stonebwouy, made minced meat of their delivery.
The likes of Amerado, King Paluta, the New Artiste of the Year, Amewuga, the Unsung Act, and Mr Drew, did not disappoint. However, I don’t know if there is a policy not to allow children below a certain age to perform around 2.45 am on a show as was done by Mr Drew.
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The celebration of the Hiplife genre at 30 with Grandpa Reggie Rockstone leading the fray with accompanying “culprits” made of Akatakyie, Okyeame Kwame, MzbeL and others, gave impetus to the show.
My worst moment, happened when a choir was made to render a choral music performance in memory of the musicians who had passed away from 2023 to the time the award took place, and it was quite a below-the-belt performance. The keyboardist and the singers were in their own world. It was poorly delivered. The nominees for both the Male and Female Vocal Performances could have sprung a surprise with it with the likes of Kyei Mensah, Kofi Karikari, Perez Music, Niiella, Lordina The Soprano, and others.
My Uncle, Nana Amakye Dede, was fantastic on the night for his honors as the Lifetime Achievement Personality in Music at the 25th Anniversary of the TGMA.
Well, I think, I have exhausted enough of the conversation. See you next year with better results. Meanwhile, stay glued to this column henceforth.
Good beads don’t rattle.
Fred Kyei Mensah
Music Producer
Pundit
Writer
Sounds.
