Many Ghanaian musicians in the hip-hop and highlife genres showcased the art of lyrical combat through beefs and diss tracks made in Ghana’s hiplife and early hip-hop scene, which has defined the genre’s evolution.
It’s clear that these beefs and diss tracks have had a big impact on the Ghanaian music industry. They show how competitive it is and how much artistes want to show that they are the best.
Some Ghanaian artistes, like Obrafour & Okyeame Kwame, Ex-Doe & Chicago, Obrafour & Okyeame Kwame, Kwaw Kese & Kontihene, and Tinny & Kwaw Kese, among others, have helped in shaping the lyrical competitiveness and identity of modern Ghanaian music through their beefs and diss tracks.
Here is a list of three notable Ghanaian musicians who made rap beefs and diss tracks in the 2000s:
OBRAFOUR vs OKYEAME KWAME
Obrafour and Okyeame Kwame are Ghanaian musicians who are well known for their contribution to the Ghana music industry but were both involved in some public disagreements and collaborations.
Obrafour’s song “Kasiebo” was seen as a response to certain industry behaviors which many Ghanaians interpreted it as directed at Okyeame Kwame due to their misunderstanding.
However, Obrafour stated that he does not hold any grudges against Okyeame Kwame and encouraged him to let go of any negative feelings as well.
EX DOE vs CHICAGO
Ex Doe is one of the pioneers of the hiplife movement who was first a part of a group called the Traditional rulers before going solo.
He registered his first hit through a collaboration with Chicago in his song, ‘Daavi mede kuku’ which has been the most popular Ewe hiplife song up to date.
Their fallout started when both artistes claimed full ownership of the song, leading to personal attacks in diss songs “Maba” by Ex Doe and “Wobeko” by Chicago in the Late 1990s spilling into early 2000s.
TINNY vs BUK BAK
Buk Bak was the first hiplife group to be successful with Ga lyrics, a significant milestone in the evolution of the genre while Tinny is also a Ghanaian hiplife artiste renowned for his distinctive Ga-language rap, making great contribution to the hip-hop genre.
The feud between Tinny and Buk Bak began with Buk Bak’s 2004 track “Tankase (Muji)” which was about sanitation.
However, its lyrics were widely interpreted as subtle jabs at Tinny due to Ronnie Coaches’ verse, which included lines like “Hey naa aleste,” meaning “See this too, known or sharp guy,” and “Ni etso muji atse,” which also meant “he’s become a dirty person,” and many more.
Tinny responded with “Aletse,” which addressed the criticisms, stating, “I’m aware when the elite are on the move, I’m not included… I don’t have the legs.”
He also referenced the “too known” label and the term “muji,” which means “dirt” in Ga, indicating his awareness of the diss.
In later interviews, Tinny emphasized that in the music industry, it is common for songs to be interpreted as diss songs, but he also clarified that “Aletse” was the only track he had directed at Buk Bak.
Over time, the misunderstanding between these artistes cooled down, but their beefs did not only shape Ghanaian music, pave the way for lyrical battles in hiplife, and inspire other musicians, but also become a cultural touchstone for old-school Ghanaian music fans.
Story by: Abdul Rahman Tinagyei.
