It’s Appreciation, Not Bribery” Ras Kuuku Defends Payola in Ghana’s Music Industry

Ghanaian reggae-dancehall artist Ras Kuuku has reignited one of the music industry’s most heated debates, arguing that “payola” should be seen not as bribery, but as a form of appreciation for DJs and media personalities who help break songs.

In a recent interview, the outspoken musician said the practice has existed for decades and is misunderstood by critics who paint it as corruption. For him, it is about recognizing the work that goes into getting a song heard.

“Payola has been there from way back and it’s still there,” Ras Kuuku said. “People call it payola, but me sitting down, I’ve got to know that it’s a kind of appreciation.”

The term “payola” is commonly used to describe money or gifts given to DJs and radio presenters to prioritize a particular song. Critics say it creates an uneven playing field where artists with deeper pockets get more airplay, regardless of the quality of the music.

Ras Kuuku offered a different framing. He said artists naturally build close relationships with media people who believe in their music. When a new song drops, showing gratitude is just part of maintaining that relationship.

“Every artiste has somebody in their industry with whom he or she loves,” he explained. “So definitely when you’re coming out with a song and then you take the person to play for you, even though he’s been paid over there, for your song to be played very well, at least you give the person something so that he can also enjoy what he’s coming to do.”

In his view, the payment to the radio station is one thing. The extra gesture to the DJ who stays late, takes calls, and pushes the song on air is another. It’s not a bribe to force play, he argues, but a thank-you for going above and beyond.

Those against payola argue it distorts the industry. When airplay is influenced by who can pay the most, they say, talented but broke artists are pushed to the margins. It also raises questions about transparency for listeners, who assume songs on rotation are there because of popularity, not payment.

On the other side, supporters — including many DJs and artists — say the reality of media work makes some form of appreciation necessary. Many presenters spend their own time, data, and fuel to attend events, premiere songs, and do interviews. Stations pay salaries, but the extra hustle around a specific artist often comes from the individual.

“People forget DJs are also brands,” one industry insider noted recently. “If they put their reputation behind a song, they deserve to benefit when that song blows.”

Ras Kuuku falls firmly in that camp. For him, the issue is not about buying success. It’s about acknowledging contribution.

“It’s less about bribery and more about recognising the contribution of media practitioners to the success of an artiste’s work,” he said.

This is not the first time payola has come up in Ghana. From highlife to hiplife to afrobeats and dancehall, artists have spoken about the informal systems that determine what gets played.

In some cases, artists have called it out as extortion. In others, they’ve described it as normal business. The difference often comes down to how the transaction is presented and whether the song connects with audiences after it gets on air.

Ras Kuuku himself has been vocal about industry challenges before. Earlier this year he said streaming was making it hard for Ghanaian musicians to earn, pointing to low payouts and piracy. His latest comments suggest he sees radio and DJ support as still central to breaking a record in Ghana, even in the streaming era.

That’s why, in his eyes, maintaining good relationships with media is crucial — and why appreciation matters.

The challenge for emerging musicians is obvious. If appreciation becomes an expectation, those without funds may struggle to get initial traction.

Ras Kuuku did not directly address that imbalance. But his comments highlight a tension at the heart of the industry: how to balance professional media work with the informal support systems that have kept Ghanaian music moving for years.

Some radio stations have instituted policies to limit gifts and payments to staff. Others leave it to the discretion of the presenter. Digital platforms have added another layer, with playlist curators now facing similar questions about influence and payment.

What hasn’t changed is the core need: artists need people to hear their music, and media people need to eat.

For Ras Kuuku, the conversation should shift from condemnation to understanding. He’s not defending corruption, he says, but a culture of mutual support.

“You take the person to play for you,” he said. “You appreciate them so that he can also enjoy what he’s coming to do.”

Whether the public and industry regulators agree remains to be seen. But his remarks ensure payola will stay in the conversation as Ghanaian music continues to grow both locally and internationally

As streaming, TikTok, and radio all compete to break hits, the question of who gets heard — and why — is more important than ever. Ras Kuuku’s answer is simple: respect the people doing the work, and show it