Why New highlife songs don’t thrive, a case of Kolo Kolo by CT Baby

In an insightful analysis, renowned music critic and marketer, Mixtic Romras, has shed light on the reasons behind the lackluster response to CT BabyGh’s latest song, “Kolo Kolo.” Romras points out that the artist’s hiatus from the music scene, combined with limited resources for promoting the new project, has created a significant gap between CT BabyGh and his fans.

One of the key factors Romras highlights is the negative impact of taking a long break in the music industry. According to the critic, when an artist fails to release new music for an extended period, it becomes challenging to regain the attention and support of fans. During this break, other emerging artists may fill the void, making it even more difficult for the returning artist to reconnect with their audience.

Romras emphasizes that building a committed fan base requires consistency and dedication. When artists lose their momentum, they risk alienating their followers. In CT BabyGh’s case, the hiatus may have contributed to a lack of connection with his fans, resulting in the underwhelming response to “Kolo Kolo.”

Furthermore, Romras points out the current limited demand for traditional highlife music, which may have affected the song’s traction. He suggests that many listeners are seeking newer sounds and the international influence that Nigerian artists have been known for. This dominance of Nigerian artists in the music industry poses a challenge for budding acts in Ghana, as they struggle to compete without substantial financial backing, strong teams, or affiliations with prominent record labels.

Romras adds that merely releasing a good song does not guarantee automatic success. Artists need to invest in their work to achieve desirable results. While support may come their way, it is often contingent on artists taking the initiative to help themselves.

CT BabyGh’s situation exemplifies the challenges faced by independent artists with limited resources in a highly competitive industry. Romras’s analysis serves as a reminder that success in the music business requires a strategic approach, continuous output, and investment in one’s craft.

As the industry continues to evolve and demand for new sounds grows, emerging artists like CT BabyGh will need to adapt and find innovative ways to capture the attention of their target audience. By leveraging their unique strengths and investing wisely, they can overcome the challenges and regain the support they seek.

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