Ever since his profession began, one attribute has outlined Ko-Jo Cue – the rap artist from the Backyard Metropolis born Linford Kennedy Amankwaa- and that has been his illustration of the wrestle of society’s everlasting punching bag, the younger man. No demographic receives much less sympathy in life than younger males, who’re concurrently anticipated to shoulder a ton of burdens – work onerous, deal with household, discover a girl, calm down, and many others.—however obtain little or no assist or sympathy in return.

As a lyricist, Cue’s superpower has all the time been his skill to bottle the trials, tribulations, and frustrations of this group, combined along with his personal expertise as a card-bearing younger man, and produce magic on pen and tape.

In his newest providing, Abebrese, Cue goes again to this everlasting effectively of younger angst. Ko-Jo effortlessly raps about life’s greatest fable – the parable of meritocracy – dismantling the false notion we’re fed that when you simply work onerous sufficient, you’ll make it.

Cue raps/work onerous work onerous / auntie promote rice and bread saa / no person dey work move / nonetheless she no get home/. The actual fact of life is that those that work the toughest hardly ever earn essentially the most, and homeowners of capital perpetuate that fable to maintain their serfs breaking their backs on the dream of creating it sooner or later. Life’s inherently unfair, it doesn’t matter what motivational audio system let you know, as Cue notes. Unhealthy issues occur to good folks – like a distraught mom crying in a hospital car parking zone, questioning methods to discover cash to maintain her son alive—or Ko-Jo himself, who emotionally revealed a gut-wrenching loss that may have damaged lesser males. On the flip facet, dangerous folks hardly ever get their comeuppance and proceed to flourish and prosper. Life isn’t like the films.

With the nation within the grips of its best financial disaster in a long time, a technology of Ghanaian youth are being fed into the bowels of poverty. These younger folks want a voice – and very similar to faith is the sigh of the oppressed creature, the opium of the plenty, as Marx places it – Ko-Jo Cue is the copium of the plenty, to borrow a Twenty first-century time period. His uncooked ardour, lyricism, and authenticity enchantment to the younger man on a primal stage, making Abebrese resonate with younger Ghanaians on a stage few different songs can match.

Ko-Jo has all the time been a lyrical genius—much more gifted than most of the people provides him credit score for – however on Abebrese, Cue cements himself because the voice of a technology.

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