Asakaa: How the Rap Group is Singlehandedly Keeping Hiplife Alive.

One thing many people might not have noticed yet is how the Asakaa Boys music collective is singlehandedly keeping the dying Hiplife music genre alive with their recent releases. As it is very common with the Ghanaian music scene, a lot of key players had on their minds what was going to happen to the collective when the whole ‘Drill Music’ craze dies down. Not by any apparent effort, the ‘Asakaa Boys,’ as they are affectionately called, have been able to evolve their sound from the localized ‘Drill Music’ to a fresher version of Ghana’s beloved Hiplife Music. But what makes their recent releases like ‘Obaa Hema,’ ‘Cinderella’ and ‘Oh Ma Linda’ an ode to the dying music genre?

Let’s start with the origin of Hiplife. Hiplife is a popular music genre in Ghana that emerged in the late 1990s. It is a fusion of Highlife, another popular and traditional Ghanaian music style, and Hip-hop, a music style that originated in the United States. Hiplife music is distinguished by its use of both English and Ghanaian languages, and its combination of African rhythms with Western beats.

Reggie Rockstone, who is widely regarded as the ‘godfather’ of hiplife, was instrumental in popularizing the genre in Ghana. He combined his love for Hip-hop with his knowledge of Highlife music to create a unique sound that resonated with the youth of Ghana at the time.

Hiplife was heavily influenced by the emergence of Hip-hop in the United States in the 1980s such that, Ghanaian musicians began to incorporate Hip-hop beats and rhymes into their music, creating a fusion of two distinct musical styles. Songs like Reggie Rockstone’s ‘Keep Your Eyes On The Road‘ sampled Public Enemy’s ‘Fight The Power‘ and Kwaw Kese’s ‘Abodam‘ also sampled Wu-Tang Clan’s ‘Gravel Pit.’ At the same time, Hiplife also draws heavily from traditional Ghanaian music, particularly Highlife. Evidence of this is on Obrafour’s ‘Kwame Nkrumah‘ and Bisa Kdei’s 2015 hit ‘Mansa,’ which featured a guitar solo. All this is brought together perfectly with lyrics which saw these Hiplife musicians often switch between English and Ghanaian languages like Twi, Ga, and Ewe; reflecting the cultural diversity of Ghana and helping to make the music more accessible to a wider audience. Over the years, certain distinct characteristics have been ascribed to the genre; Hip-hop and Highlife elements, rap verses, call-and-response choruses and female bvs.

Is that what we are witnessing with the recent Asakaa Boys’ releases?

Yes! But better. At the forefront of this are some of the producers they have been working with like Lotus Beatz.

Songs like ‘Obaa Hemaa’ features an upbeat and catchy melody, call-and-response chorus, and a mimick of the brass band instrumentation for the song’s kick pattern. Also noticeable are the high-pitched harmonies done by the boys to sound like a female.

Jay Bahd’s 2023 released solo effort ‘Yaa Baby,’ is Hiplife to the core. It carries Drill Music nuances and prominently features female bvs as well.

Their recent release, ‘Oh Ma Linda,’ which features Reggie, O’Kenneth, Jay Bahd and Kwaku DMC, is the biggest sign of how they have evolved their sound and that of Hiplife. Swapping the upbeat melody for a rather upbeat rhythm and replacing the guitar riffs with synths and pads, are a testament to the fact.

These three songs and many others indicate how the Asakaa Boys have evolved the Hiplife genre in five ways. First, they have found a way to incorporate new musical styles, influences and are experimenting with new sounds. Secondly, there are some noticeable changes in the lyrical content. Hiplife music from the 2000s featured lyrics that addressed social and political issues, but that of the Asakaa Boys glorify the ‘trap life.’ Also, rather than use the old production technologies like the mpc to program the drums and play live instruments for the melodies, they have replaced them with digital production tools and techniques. So you get to hear more synths, pads, weird sounds and artificial percussions. Additionally, we are witnessing increased collaboration among themselves. A single track from the collective would feature at least four different artists to bring different perspectives and feels. Lastly, this new change is attracting a newer audience demographic. Granted, not every young music listener now would readily listen to Hiplife music from the 2000s, but the Asakaa Boys’ music appeals to them more.

To wrap up, it is quite clear that the Asakaa Boys are at the forefront of transforming the Hiplife music genre in Ghana. For something that was thought to be on the verge of extinction, it is refreshing to realize the glimmer of hope presented. Through their innovative fusion of various musical styles and cultural influences, they have created a sound that not only resonates with Ghanaians but also has the potential to capture the hearts of audiences worldwide. As they continue to evolve and push boundaries, we can only imagine what the future holds for the Asakaa Boys and the impact they will have on the music industry. One thing is for certain though, they are for sure a force to be reckoned with, and we can’t wait to see where their musical journey takes them next.