Author: Kofi Fosu
Stormzy has just unveiled a new short film titled “Big Man”, an entire film shot on the iPhone 16 Pro. The film is directed by Oscar-winning director, Aneil Karia, and shot by Stuart Bentley. Big Man tests the limits of mobile filmography, being entirely shot in Cinematic Mode at 4K/120fps. The 20-minute project stars Stormzy as “Tenzman”, a washed up rapper navigating through a stressful day. Things take an interesting turn when he crosses paths with two hood kids running a scam. Their meeting quickly turns into an impromptu adventure at Brighton Beach. Watch “Big Man” by Shot on iPhone…
In Ghana’s creative space, one big conversation still lingers—what role should media and media personalities play in pushing our local creative arts forward? Whether it’s music, film, or visual arts, the connection between creators and platforms is vital. But for today, let’s focus on music. We often hear complaints from radio and TV personalities about the lack of structure on the artists’ side. But here’s the flip side that no one talks about: some media figures avoid taking responsibility for their own lack of effort in promoting local talent. Before we even touch the issue of payola, let’s explore how…
“The beat goes hard asf!” is one of the best compliments an artist or producer can receive today. It’s short, raw, and packed with meaning. It tells you that your sound connected—that someone felt it. And that feeling? It’s stronger than ever because music listeners today have better tools. We’re talking HD streaming platforms, noise-cancelling headphones, hi-tech speakers, and earbuds that make every drum, synth, and bassline hit harder. Music isn’t just heard—it’s experienced. The Sound of Now Global hitmakers know this. They’re constantly tweaking, layering, experimenting—because they understand the listening experience has evolved. Their sound evolves too. Locally, though,…
“Ghana Music No Dey Pay” Is a Myth — Here’s Why We’ve heard it time and time again in this industry: “Ghana music no dey pay!” But honestly, I call cap. I firmly believe that what we used to call “Ghana music” no longer exists—at least, not in the way we once knew it. Maybe it did in the past, when legendary bands headlined international festivals and appeared on magazine covers across the globe. Back then, it was more than just music; it was a movement—anchored in tradition, sound, and cultural pride. But the times have changed. We’re now in…