Barima Sidney explains decline of hip-life, credits evolution of global music industry and lack of proper positioning
Renowned Ghanaian musician Barima Sidney has shed light on why the once-thriving hip-life genre seemingly faded over time, attributing its decline to a lack of proper positioning and an evolving global music industry.
In a recent interview, the veteran artiste explained that what Ghanaian musicians were doing in the early days of hip-life was essentially hip-hop, only infused with elements of highlife. However, the decision to brand it as hip-life was unique to Ghana.
“What we were doing back in the day was hip-hop. It is we (Ghanaians) that named it hiplife, which had the same meaning as hip-hop. So if you go to any other country, it is called hip-hop. We weren’t doing anything different, but we blended it with our highlife genre,” he stated.
Over time, Sidney noted, artists began to feel boxed in by the hip-life label, realizing that the classification restricted their artistic freedom. As music evolved globally, many Ghanaian musicians, including himself, embraced a broader identity to remain competitive and relevant in the international music space.
“At some point, I realized that calling myself a hip-life artist limited me because I can do any other genre. So later, if you asked me, I told you I do world music, which feels unlimited,” he explained.
Despite the evolution of Ghanaian music and the move away from strict genre labels, Sidney insists that this shift does not mean Ghana has lost its musical originality. Instead, he believes adaptation is necessary to keep up with the changing landscape of the global music industry.
“The world is evolving, and we can’t stay in the same place while others are evolving,” he emphasized.
Barima Sidney’s insights highlight the need for Ghanaian artists to embrace versatility while staying true to their roots. While hiplife may no longer be the dominant genre it once was, its influence continues to shape modern Ghanaian music, blending tradition with contemporary global sounds.
Over time, Sidney noted, artists began to feel boxed in by the hip-life label, realizing that the classification restricted their artistic freedom. As music evolved globally, many Ghanaian musicians, including himself, embraced a broader identity to remain competitive and relevant in the international music space.
“At some point, I realized that calling myself a hip-life artist limited me because I can do any other genre. So later, if you asked me, I told you I do world music, which feels unlimited,” he explained.
Despite the evolution of Ghanaian music and the move away from strict genre labels, Sidney insists that this shift does not mean Ghana has lost its musical originality. Instead, he believes adaptation is necessary to keep up with the changing landscape of the global music industry.
“The world is evolving, and we can’t stay in the same place while others are evolving,” he emphasized.
Barima Sidney’s insights highlight the need for Ghanaian artists to embrace versatility while staying true to their roots. While hiplife may no longer be the dominant genre it once was, its influence continues to shape modern Ghanaian music, blending tradition with contemporary global sounds.
Author: Nana Ama Shancy
