Music analyst Joshua Agyei urges Ghanaian DJs and presenters to cut down foreign songs and push local, especially gospel, as Play Ghana thinking returns in 2026.
If you’ve been complaining that radio sounds “too foreign” these days, Joshua Agyei is basically speaking your mind. On Hitz FM’s gospel show, he told presenters point‑blank that 2026 should not be business as usual if they truly believe in Ghanaian music. In simple language, his message was clear: we have good songs here, so let’s actually play them.
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What Joshua Agyei Said on Hitz FM
During an appearance on Hitz FM’s Hitz Praise Zone, Joshua Agyei appealed to presenters and DJs to intentionally reduce foreign songs this year and prioritise Ghanaian music. “We should try as much as possible to cut down on foreign gospel songs in 2026,” he advised, stressing that the more local music people hear, the more they will grow to love it.
He argued that Ghana is not suffering from a content shortage; the problem is exposure. In his view, if gatekeepers keep feeding audiences only foreign material, then obviously those songs will dominate people’s playlists and charts. But when radio deliberately spotlights Ghanaian tracks, especially consistently, listeners start to develop real attachment to homegrown sounds.
Why He’s Worried About Foreign Dominance
Joshua’s concern sits inside a larger debate: foreign music dominates too much of Ghana’s prime radio time, events and even state shows. Recent complaints about foreign headliners at major concerts and national events have already pushed organisers like Abeiku Aggrey Santana to publicly promise more Ghanaian representation going forward.
For Joshua, it’s not about hating Nigerian, South African or Western music; it’s about balance and ownership. When foreign songs are always first choice at clubs, festivals and on air, Ghanaian artists end up fighting for the crumbs in their own backyard. He believes 2026 is a good moment to correct that, especially now that recent streaming stats have shown Ghanaians are actually willing to consume more local music when it is pushed well.
The Gospel Music Angle
Joshua focused his strongest appeal on the gospel industry. He noted that Ghanaian gospel is rich, both musically and spiritually, but foreign gospel often dominates the curated Sunday and morning inspiration slots. In his view, that undercuts local ministers who are trying to build ministries and careers from Ghana.
He argued that when presenters and DJs choose Ghanaian gospel for worship segments, early‑morning shows and weekend programming, they are not lowering quality; they are strengthening an existing ecosystem. That kind of rotation helps local ministers to grow audiences, get bookings and be taken seriously as part of a structured industry, not just occasional viral sensations.
His Message to Upcoming Artists
Joshua was also honest with upcoming artists: the work is not only on DJs. He said many rising musicians record one song, hope it “blows”, and then disappear until something magical happens, instead of treating music like a continuous craft.
He encouraged new acts to keep releasing music, improve quality and actively build relationships with presenters and producers. For him, a serious Play Ghana mindset in 2026 will favour artists who are consistent and professional, not just those who trend once on TikTok.
Why It Matters in Ghana
This whole conversation goes beyond playlists; it touches culture, pride and money. When radio shows, church events and big festivals are dominated by foreign music, the benefits, royalties, syncs, brand deals that largely leave Ghana instead of circulating among local creatives.
At the same time, many young Ghanaians want to hear themselves reflected in the music they consume: the slang, the stories, the faith expressions, the everyday hustle. A stronger commitment to Play Ghana thinking in 2026 could boost artist incomes, strengthen the gospel industry, and quietly reshape how the world hears Ghanaian sound.
What to Watch Next
How upcoming artists respond: more frequent releases, better production and strategic outreach to DJs would show that musicians are ready to match the industry’s Play Ghana talk with action.
Whether major urban stations in Accra, Kumasi and Takoradi start adjusting their rotations to favour Ghanaian music in daytime and drive‑time slots, not only late‑night shows.
If gospel‑focused platforms actually implement Joshua’s advice and replace a portion of foreign gospel with local ministers throughout 2026.
