But according to the award-winning singer-songwriter, there is one area where he believes he has been overlooked: songwriting recognition.
In a recent interview with media personality Anita Akufo, the “Angela” hitmaker admitted that missing out on the Songwriter of the Year award at the Telecel Ghana Music Awards continues to hurt him.
“Trust me, I’m hurt. That’s something that hurts me so much,” Kwame Eugene said during the interview.
The singer explained that although many people praise his music and enjoy the songs he writes, he feels his actual songwriting abilities are rarely acknowledged at the highest level.
According to him, most of the songs he writes become mainstream hits, but he believes the industry often views “big bangers” as commercial music rather than songs worthy of songwriting honors.
He pointed to songs like “Nyafu Nyafu,” “Watch Me,” and gospel records such as “Victory” by Joyce Blessing as examples of songs he believes deserved recognition in songwriting categories.
Kwame Eugene also suggested that the issue is not with fans, but with award scheme decision-makers.
“It’s not the public. The public loves it. It’s TGMA that decides what gets into the category,” he said.
A Debate That Sparked Bigger Conversations
The interview quickly triggered discussion among entertainment pundits and radio personalities, with many agreeing that Kwame Eugene deserves credit for his pen game, while others argued that songwriting awards involve more than just producing hit songs.
Entertainment analyst Edem Chotey defended the singer’s abilities, describing him as a talented songwriter who has consistently written quality music for years.
He noted that several artists naturally place high value on songwriting awards because they validate creativity, intelligence, and artistic depth beyond commercial success.
At the same time, the panel emphasized that songwriting categories are judged on multiple elements, including lyrical depth, melody, originality, composition, and arrangement, not simply popularity.
Broadcaster Robert Klah clarified that the TGMA Songwriter of the Year category is not designed to ignore hit songs. He referenced songs like “Susuka,” “Confession,” and “Sacrifice,” which were both commercially successful and critically recognized for songwriting.
According to him, a song can be a massive hit and still win if the songwriting criteria are strong enough.
The discussion also touched on how Ghanaian audiences are beginning to pay closer attention to lyrical content and songwriting quality than ever before. From pastors quoting song lyrics in church sermons to music lyrics appearing in examination questions, many believe songwriting in Ghanaian music is finally receiving deeper appreciation.
“Kwame Eugene Is Already Appreciated”
While many sympathized with Kwame Eugene’s frustrations, the general consensus remained clear: his talent is not in doubt.
Panelists repeatedly pointed out that the fact artists across genres continue to seek him out for songwriting proves the industry respects his craft.
They also encouraged him not to become discouraged by the absence of a songwriting award.
As one contributor put it:
“If you are good, somebody else is equally good. Sometimes one or two things simply favor another song.”
For now, fans continue to celebrate Kwame Eugene not just as a performer, but as one of Ghana’s most influential music creators of his generation.
And while the Songwriter of the Year trophy may still be missing from his cabinet, the conversation has once again reminded many people just how much of Ghana’s modern soundtrack carries his fingerprints.
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