2011 was an ‘Azonto’ year. Hate it or love it, it has become a global phenomenon. Its introduction and immediate success opened the floodgate for the rest to follow.
There are many who thinks the introduction of ‘Azonto’ in Ghana has killed good music. I readily concur with them. But I belong to the group of people who thinks that the introduction of ‘Azonto’ has helped in the promotion of Ghana music over the world.
Unlike other form of dances, ‘Azonto’ has become contagious and caught up with everyone, even the white man on the streets of London to the old woman in Chorkor to the Pastor in my church to my little nephew.
Several years ago, Nigerian songs were the toast of Ghanaians. Songs from the most populous nation in Africa were preferred to songs produced in Ghana. For whatever reasons, some Ghanaian musicians started copying blindly the Nigerian accent.
But the introduction of ‘Azonto’ made sure artistes with creativity imbibed in them made hits. No need to sing or rap like a Nigerian to make it. An ‘Azonto’ song was the easiest of all compositions; just get a nice beat, meaningless lyrics with a catchy hook and you are there.
Some of the Azonto songs on the system are from Sarkodie’s ‘You Go Kill Me’ featuring EL to Keche’s ‘Sokode’ to Castro’s ‘Do The Do’ featuring Asamoah Gyan to Guru’s ‘Lapaz Toyota’ to Gasmilla’s ‘Aboodatoi’ to R2Bees’ ‘Agyeiii’ featuring Sarkodie & Nana Boroo to Stay Jay’s ‘Sha She Wowo’ to Eduworji’s ‘Yenko Nkoaa’ featuring Stay Jay to EL’s ‘Obuu Mo’ to 4X4’s ‘Yesi Yesi’ to Buk Bak’s ‘Kolom’
Azonto’s era will pass but do you think it has killed Ghana music? VOTE NOW!
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