A Number of My Colleagues Prefer Collaborating with English-Speaking Artists-Broda Sammy

Ghanaian gospel artist Broda Sammy has openly expressed his concerns regarding selective collaboration practices within the gospel music industry, highlighting what he believes to be a tendency to prioritize certain artists over others based on language and personal preferences.

In an interview on the Asetena Pa show with Akoto Mansa, Broda Sammy discussed a trend he has noticed within the gospel music community, where some artists opt to work only with those who speak English, leaving out others who may not fit the same linguistic or cultural mold. He explained that there are gospel musicians who seem to align themselves with those who share similar ideologies or public personas, rather than embracing the diversity and inclusivity that should be present in the industry.

He emphasized that this selective collaboration practice is problematic, as it limits opportunities for artists who might not meet these specific criteria. “In this industry, there are people who act as if they are united, but when it comes to collaborations, they only work with those who speak English or have the same views as them,” Broda Sammy remarked. “If you don’t belong to their circle or meet their criteria, they won’t even consider working with you.”

Broda Sammy further elaborated on his position when asked whether he would be open to collaborating with prominent gospel musicians like Diana Hamilton or Kofi Owusu Peprah. While he expressed his willingness to collaborate with them, he made it clear that he would not be the one to initiate such partnerships. “If they reach out to me for a collaboration, I’d be happy to work with them,” he stated. “But I won’t go to them first. I’ve seen how things work in this industry, and I believe in letting things flow naturally. I won’t beg anyone for a collaboration.”

The gospel singer also shared his concerns about the hypocrisy he perceives within the gospel music fraternity. According to Broda Sammy, many of his colleagues preach Christian values publicly but their actions behind the scenes often contradict the messages they promote. He believes that some gospel musicians put on a facade of unity and righteousness in the public eye, yet fail to practice what they preach in their personal interactions and business dealings within the industry.

This, he argues, is not only disheartening but also undermines the true spirit of gospel music, which should be about promoting sincerity, inclusivity, and the message of love. He expressed disappointment at the way some artists are more focused on aligning with specific groups or individuals rather than creating an open and welcoming environment for all gospel musicians, regardless of their background, language, or style.

For Broda Sammy, it is important that the gospel music industry in Ghana moves towards greater unity and collaboration, where artists work together to uplift each other and spread the positive messages of the gospel. He stressed that inclusivity and diversity should be at the heart of the gospel music community, allowing everyone, regardless of their background, to contribute to the growth and development of the industry.

In conclusion, Broda Sammy’s comments shine a light on some of the challenges facing the gospel music industry in Ghana, especially when it comes to collaboration and inclusivity. His call for more openness and sincerity within the industry serves as a reminder that true unity in the gospel community should transcend language, ideology, and personal preferences. By embracing these values, the gospel music scene can become more inclusive, supportive, and impactful for both artists and fans alike.