South African neo-soul singer Mikhalé Jones has signed a recording deal with Afroforce1 Records, a division of Universal Music Group, according to a report by Music In Africa.
The deal coincides with the release of her new single ‘My Soul’, off her upcoming album It Is What It Is. As part of the deal, Afroforce1 Records will market the single not only in South Africa but the rest of Africa and Europe.
Commenting on the song, which speaks about her personal journey as an artist, the 25-year-old Jones said: “Just settling into my 20s and having completed university, I was ready to discover my purpose and who I was as an individual. It was scary as f%@k. I was scared of the unknown, because all I knew is that I no longer knew who I was. I became numb as a coping mechanism because the world just didn’t feel like a safe space to be in. I felt like I was losing my soul.”
Universal Music Group sub-Saharan Africa managing director Sipho Dlamini said: “Mikhalé Jones is the new look and sound of R&B, soul and trap. Fresh, edgy, full of life and not scared to be herself. Her songwriting, vocals and passion for music will be the reason the world discovers her name. The second artist to join the Universal Music Group/AfroForce1 family after Mi Casa, we are proud to have her as part of the family.”
Jones is a former member of Christian hip hop collective Unique. She rose to fame with her series of a capella videos, which were released on Facebook. In May 2014, she made her television debut on SABC 1’s YoTV, performing as a backup dancer for local singer Mariechan. That same year, she participated at the International Model and Talent Association talent search and was the first finalist. She has worked with hip hop artists like Tribal Kingz and Bradz La Muzik.
“With her phenomenal voice, natural beauty, flawless work ethic and commitment to being real, Mikhalé is destined to make it as one of South Africa’s brightest new stars. We are proud and happy to be part of her musical journey to success,” Airforce1 Records managing director and senior vice-president for A&R Joe Chialo said.
“We Are The Best Rappers In Ghana” – DopeNation Claim
Ghanaian multi-awarding group duo DopeNation making Ghanaians proud at the SoundCity MVP Awards has labeled themselves as the best rappers in Ghana.
Unlike the likes of Sarkodie who has been termed as the topmost rapper with many awards and world recognition, the rapper in a Q&A session on Twitter with international blogging company Yen was asked whom their 3 best rappers were. The ”Eish” hitmakers labeled themselves as the best as they gave three same straight answers.
DopeNation is known for producing major hits such as Eish, Naami, Confam, Zanku and currently promoting ”Thank God.
(Source: Kubi Live)
“The Media Should Emphasize On Positive News To Attract Investors” – Fuse ODG Urges
Fuse ODG; Ghanaian born pan-African Afrobeats artiste and Humanitarian Activist, has said that, rather than propagating the negative news surrounding the creatives, the Ghanaian mass communication media, including the traditional and social media, should use their respective platforms to emphasize on the positive and the great things musicians are doing to elevate the Ghanaian culture to the world.
Speaking as a guest to Jay Foley on Joy Prime’s flagship programme “Prime Morning”, the New Africa Nation album crooner stated that, Ghanaian creatives are investing enornously in helping shape the public’s opinion and underlying sentiment on Ghana with projects, this he explained are great things the media as an important sources of basic information propagate to help engender understanding if presented in a fair, even-handed and non-inflammatory way.
According to him, if the media dedicate provisional time to promote good news about the achievements creatives have garnered over the years, investors, stakeholders and government officials will not be oblivious of the benefits of the creative economy. This will in-turn allow them allocate more funds to support established and budding talents to help amplify fresh narratives and content that emphasises the intellectual power of the brilliant community.
Watch interview below;
However, having blessed the world with one of the biggest hit singles, inspiring the global acceptance of the Azonto dance and changing the way African music was consumed, the Ghanaian superstars and Itz Tiffany are back with another masterpiece. Titled “Winning”, the two although send across a message of positivity through the song did not forget to get music lovers on their dancing feet just as they did with Azonto.
Watch video below;
BRYAN THE MENSAH Provides A Service To Help Ghanaian Artists, Producers, Songwriters, and Representatives.
Rapper, singer, producer, sound engineer, and visual artist, BRYAN THE MENSAH has started a service known as BLYNC to help Ghanaian artists, producers, songwriters, and representatives to get sync deals, placements and opportunities for their music.
BLYNC, a combined word of BLINK and SYNC is a peer-to-peer sync service offered by BRYAN THE MENSAH that gives artists, producers, songwriters, and music industry personnel the opportunity to get sync placements and make more money off their music catalogue. This is powered by Flutterwave.
If you are a musician and you are interested, do join the telegram for more information via the link below
BAMBAYA FIRE: SSUE Set To Premiere A Skillfully Executed Highlife EP
The question never was if Neo-Highlife singer/songwriter SSUE would last long enough on the scene to bring out her own collection of songs, it was rather when and how well such material would be packaged and presented to the public.
Well, here she is now with a skillfully executed six-track EP called Bambaya Fire which makes pleasant listening and adequately proves that Highlife still contains within its domain, songs capable of challenging and enchanting new generations of musicians and listeners.
The young lady obviously belongs to the crop of contemporary artistes who appreciate the need to relook the solid building blocks put in place by earlier maestros and take the music to new levels. That’s why the introductory track, Bome Nkomode, employs the powerful rhythmic vehicle of Yaa Amponsah guitar licks which blend well with some tight well-balanced horn phrases and David Aidoo’s articulate bass lines.
She offers a good display of tone and technique with her vocals on the song and the featured act, Highlife great Pat Thomas’ excellent command of phrasing in the Highlife mode almost lifts the track to the status of a modern classic.
The initial percussion and bass-accompanied hand claps on Baa Sumo Mi bring a danceable feel to the song. It is a romantic track that quickly moves listeners to snap their fingers, tap their feet or simply let themselves go on a dance floor. It generally shows off the backing instrumentalists as a bunch of players who generate tremendous enthusiasm and spirit to help SSUE soar with her vocals.
The liveness of the recording session, as against some quickly-programmed computer sounds, is appropriately felt in Boom Boom Bang Bang, especially through the power and punch of the horn trio comprising Ekow Mbrah Otchere (saxophone), Luis Emmanuel Gyima (trombone) and Joseph Amankwa Twum-Baah (trumpet). Guitarist Apau Samuel Awuku also plays smartly and tastefully on the track.
Songs by the late globally-acclaimed South African trumpeter Hugh Masekela, have been subjected to interpretation and reinterpretation over the years. SSUE adds her name to the tall list of admirers with a lilting Highlife version of Market Place. Drummer Emmanuel Addai makes use of his whole set in a way that would have grabbed the great Masekela himself to dance to the track.
SSUE can well be proud that though her big agenda is to give a fresh tang to Highlife, she manages to cook it with a variety of flavours which make it a pleasure to devour. Should I has a slightly mellower tone than the other tracks but it still pulls in the listener to acknowledge the young singer’s sense of arrangement.
SSUE’s musical cosmos is expansive and surely accounts for her neat appropriation of the Bambaya rhythm from the Northern Region of Ghana which she delicately blends with ‘pinches’ from Osibisa’s famous Fire song for her Bambaya Fire track. Percussionist Michael Laryea has room to showcase skills that accentuate the lively rhythm. Keyboardist Godbless Buabin lays an unobtrusive layer of sounds for all to step on and shine brightly.
The Bambaya Fire collection has a good deal of substance that affirms SSUE’s conviction that vast imagination and enough artistic flair are key elements in this game of making catchy music that’s accessible to a wide cross-section of the public.
What’s offered on her Bambaya Fire EP is fun for listening and also fun for dancing. That’s not a bad combination. It is something to have if you like happy, progressive music rendered in the great Highlife tradition!
The EP was recorded at Black Note Studio in Accra, Ghana. It was produced by Lahai Samurai (Sierra Leone) and Mobeatz Bangr (Chicago, USA). It was mixed by Zapp Mallet (Ghana ) and mastered by Kai Blankenberg at Skyline Tonfabrik in Dusseldorf, Germany. Kofi Amoakohene and Henry Holdbrook-Smith were the Executive Producers.
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