The Telecel Ghana Music Awards (TGMA) has overhauled entry guidelines for its 26th edition, introducing stricter nomination protocols and revising credits in the Songwriter of the Year category following a review of submissions.
The moves aim to address past criticisms over transparency and attribution in one of West Africa’s most watched music awards.
Organizers confirmed Wednesday that Kuami Eugene has been added as a co-writer of Okyeame Kwame’s “No Competition,” rectifying an initial omission. The update underscores ongoing debates about proper crediting in Ghana’s fast-evolving music industry, where collaboration disputes frequently surface.
Single-Song Rule Enforced
Under revised rules, artists may now only enter one song per category to prevent vote dilution—a shift from previous years allowing multiple entries. Exceptions remain for collaborative categories like Best Music Video and Best International Collaboration. The TGMA board cited King Paluta’s tracks “Aseda” and “Makoma” as examples, with data from 175 radio stations and streaming platforms showing “Aseda” as the clear public favorite for Highlife Song and Most Popular Song nominations.
“This ensures a level field where popularity and impact determine outcomes, not volume of submissions,” the board stated, acknowledging past flexibility had caused “vote splitting.”
Credibility Push
The changes come amid heightened scrutiny of African award shows’ credibility. Last year, the TGMA faced backlash when rapper Black Sherif boycotted the event, calling for “fairer metrics.” This year’s adjustments signal attempts to align with global standards, mirroring reforms by Nigeria’s Headies Awards in 2022 after similar disputes.
TGMA organizers emphasized their “open-door” policy, urging stakeholders to submit year-round feedback via official channels. “Transparency isn’t a one-off process,” the board noted, referencing a newly extended error-reporting window.
While data-driven decisions aim to depoliticize nominations, some producers privately warn streaming metrics could marginalize grassroots genres. Highlife and hip-life tracks dominate radio playlists, but newer Afrobeats fusions often trend online—a split complicating “popularity” assessments.
As Ghana’s music exports surge, the TGMA’s rule tweaks reflect broader tensions between artistic recognition and commercial realities. With the ceremony weeks away, all eyes are on whether these changes will satisfy an industry hungry for both prestige and progress.
