Gospel Musicians Deserve Better: Noble Nketsiah Calls Out Ghana's Undervaluing of Local Talent

Ghana's thriving gospel music scene masks a troubling reality: local artists say they are systematically undervalued and undercompensated compared to international performers who visit the country. Renowned gospel musician Noble Nketsiah has brought this frustration into sharp focus, arguing that the disparity reflects a deeper problem with how Ghanaians regard their own creative talent.

Speaking during an interview on The Afternoon Show with Anita Akua Akuffo, Nketsiah—best known for his hit "Adom Ara Kwa"—was direct in his assessment: Ghanaian gospel musicians do not receive adequate financial rewards or meaningful appreciation from their own people. The veteran artist, who travels internationally to perform, noted a striking contrast in how audiences abroad embrace and celebrate gospel music compared to the reception local artists receive at home.

A Prophet Without Honour in His Own Land

Nketsiah invoked the biblical principle found in Mark 6:4—that a prophet receives no honour in his own country—to describe the experience of Ghanaian gospel musicians. Foreign gospel artists visiting Ghana, he observed, receive exceptional treatment, substantial performance fees, and public celebration. Yet local musicians charging comparable rates are often questioned or accused of overpricing their work.

The disparity is particularly stark when event organisers compare fees. "We see and we hear other musicians come into the country and how well they are being taken care of, I mean, honoured and celebrated," Nketsiah said. "We don't get that from our own people."

This pattern reflects a broader dynamic in Ghana's entertainment and creative industries: international talent often commands premium value while local excellence is taken for granted or underestimated. Event organisers appear more willing to invest substantial sums in foreign performers, yet hesitate when local artists request similar compensation—despite comparable credentials or experience.

Why It Matters for Ghana's Creative Economy

The treatment of gospel musicians raises uncomfortable questions about Ghana's investment in its own talent pipeline. The gospel music sector is significant culturally and commercially, attracting large audiences, generating revenue through concerts and recordings, and shaping the nation's soft power globally. When local artists feel undervalued, several consequences follow: reduced incentives to invest in craft development, talented musicians seeking opportunities abroad, and a brain drain of creative talent to other African nations or the diaspora.

This dynamic also affects sustainability. Musicians who cannot derive adequate income from their primary market may struggle to continue full-time careers, potentially forcing them into alternative income sources or limiting the time they invest in their art. The long-term health of Ghana's gospel music industry depends on creating economic conditions where talented local artists can thrive financially without constantly seeking foreign markets.

Moreover, the preferential treatment of foreign performers sends a signal to Ghanaian audiences: external validation carries more weight than local expertise. This mindset can undermine efforts to build a robust, self-sustaining creative economy that benefits artists and the broader nation.

Moving Forward Despite Challenges

Despite his critique, Nketsiah emphasised that financial constraints do not prevent him from sharing his music and blessing people through performances. He continues to pursue his ministry passionately, even as he advocates for systemic change in how the industry values local talent.

The musician is currently promoting his upcoming concert, Tuv Haelohim, scheduled for October 25 at ICGC Calvary Temple, marking 25 years in the music industry. His longevity and continued relevance demonstrate the enduring quality of Ghana's gospel music, yet also underscore the need for the industry and audiences to recognise and reward that quality adequately.