Renowned highlife pioneer, Gyedu-Blay Ambolley, has voiced concerns over the widening gap between the older and younger generations of Ghanaian musicians, a disconnect he believes is hindering the industry’s growth and development.

In a recent interview on Joy Prime’s Prime Morning show, Ambolley, often referred to as the father of hiplife, expressed disappointment at the lack of collaboration and mentorship between veteran artists and the new wave of musicians. According to him, this lack of continuity and knowledge transfer is a major setback for Ghana’s music scene.

“One thing I’ve become sorry about is that there’s a gap between the older and younger musicians,” Ambolley lamented, highlighting the growing divide that he says is preventing younger artists from benefiting from the wealth of experience that seasoned musicians can offer.

He emphasized the importance of knowledge in promoting and sustaining music careers. In his view, the younger generation of artists are shouldering the responsibility of pushing Ghanaian music forward, yet many lack the foundational skills and industry insights that the veterans possess.

To address this, Ambolley proposed that stakeholders in the music industry, including the Musicians Union of Ghana (MUSIGA), should organize seminars and workshops that bring together both generations. These events would provide a platform for networking, mentorship, and the exchange of ideas, fostering collaboration that could help shape the future of Ghanaian music.

“The Musicians Union has to be able to organize all these things, bringing the old and young together because it’s our union,” Ambolley stated, adding that such initiatives would help bridge the generational divide and equip younger musicians with the knowledge needed to excel.

Ambolley also took a critical stance on the state of MUSIGA, suggesting that the union has not done enough to foster unity within the industry or to provide educational resources for emerging talents. He stressed that the union should prioritize the collective advancement of musicians over personal interests, and focus on creating stable structures that support all artists.

A major concern for Ambolley is the tendency of younger musicians to lean heavily on foreign influences due to a lack of guidance and resources. He noted that many upcoming artists, inspired by European and American music, are straying away from Ghana’s authentic sounds.

“They hear music from Europe and start baffling with it,” Ambolley remarked, calling for a renewed focus on Ghana’s rich musical heritage. He urged industry players to channel their efforts into promoting indigenous genres like highlife on the global stage, rather than adopting styles from other countries.

Although Ambolley expressed his willingness to mentor and support younger musicians, he acknowledged that his frequent travels and tight schedule make it difficult for him to be constantly available. However, he remains committed to helping create opportunities for knowledge sharing in the industry.

As the call for bridging the generational gap in Ghana’s music industry intensifies, many are hopeful that veterans like Ambolley will continue to lead efforts that strengthen the bond between old and new, ensuring a more collaborative and prosperous future for Ghanaian music.