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D Cryme: My Team Never Denies the Power of Traditional Media

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  Published in Media and Entertainment on Thursday, November 27th 2025 at 6:48 GMT by Ghanaweb.com

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D Cryme: “My Team and I Will Never Say We Don’t Need Traditional Media”
An in‑depth look at how the rising Ghanaian star is balancing the old and the new in his promotion strategy

When Ghanaian music fans hear the name D Cryme, they think of an artist who blends the rhythmic grit of high‑life with the swagger of contemporary hip‑hop. The 2011‑era Ghanaian platform GhanaWeb has long been the go‑to source for Ghanaian entertainment news, and the platform’s latest feature on D Cryme (published October 20, 2023) delves into a question that every modern musician wrestles with: “Do you still need traditional media—radio, TV, and print—in an age dominated by social media and streaming?”

The Premise

At first glance, the headline “My team and I will never say we don’t need traditional media” reads almost like a tongue‑in‑cheek manifesto. Yet the article reveals a serious stance: D Cryme is not dismissing the digital shift, but insisting that radio and TV are still essential for authentic reach, especially in Ghana’s diverse media landscape. The interview, conducted by GhanaWeb’s entertainment desk, spans over a dozen questions, each probing the practicalities of promotion, audience engagement, and the evolving industry.

The Artist in Context

D Cryme, whose real name is Christian D. Kweku, hails from the bustling commercial hub of Accra. He burst onto the music scene with his debut single “Owuo Pa” in 2018, quickly gaining traction on YouTube and Spotify. Since then, he has built a catalogue of tracks that resonate with the younger generation—blending local Ghanaian slang, danceable beats, and a candid lyrical style that addresses everyday life and social issues. His most recent single, “Kɔwɔtwe” (released in August 2023), charted on the Ghana Radio Top 20 and drew significant attention from the national media.

Despite his digital footprint, D Cryme’s latest article emphasises that the “old‑school” media remain critical. He notes that while streaming services offer instant global reach, radio and TV deliver the “tangible presence” that can turn a streaming fan into a concert goer.

Radio: The Grassroots Engine

The article opens with a quote from D Cryme:
> “Radio is still the most widespread medium in Ghana. I’ve seen fans who can’t stream music because they don’t have internet or data. They turn up to radio stations for the latest hits.”

He explains that his team strategically pitches his singles to key stations like Joy FM, Citi FM, and Kumasi Radio, ensuring that his music reaches not only the urban audience but also the smaller towns where radio remains king. The interview highlights the importance of “radio promotion days” – a concerted effort where the artist and his team call stations, share music links, and request airplay. The goal is to secure heavy rotation, which in turn can boost streaming numbers.

D Cryme also acknowledges that radio plays an evangelistic role. “When your track is on the radio, people hear it multiple times a day, it sticks in their heads, and they go out and buy your album or book your concert tickets.” His point is that radio serves as a multiplier for other platforms.

Television: Visual Storytelling

While radio delivers audio, D Cryme argues that television provides a visual dimension that digital platforms cannot fully replace. In the article, he recalls an early TV appearance on Ghana Music Channel that turned his music video into a viral hit. He states:

“The TV broadcast brings a level of legitimacy. It’s a stamp that says, ‘Hey, the mainstream is listening.’”

His team regularly partners with TV stations for music video premieres, interviews, and even reality‑style segments that follow his touring process. The article references his 2022 video “Nkonkronkron” that premiered on GTV, where the artist used a mini‑doc format to show behind‑the‑scenes footage of his studio sessions. This mix of content not only promoted the single but also humanised the artist for his fans.

Print and Outdoor Media: A Persistent Touchpoint

Although Ghana has seen a decline in print circulation, D Cryme’s interview points out that newspapers and billboards still reach a broad audience, especially in urban centers. He cites a recent collaboration with The Ghanaian Times to feature a photo essay about his hometown roots. He also notes that billboard ads along Accra’s main arteries – such as the Adweso and Labadi roadways – give his brand a “real‑world presence.” In a short quote, D Cryme writes:

“The print media may not be as flashy as digital, but it still gets your name out there. It’s an extra layer of brand exposure.”

Integrating Digital and Traditional Media

A key theme throughout the article is synergy: traditional media is not a competitor to digital; it is a complement. D Cryme shares a practical example of how his team leveraged radio to boost online streams:

1. Radio premiere of a single on Joy FM.
2. Immediate sharing of the radio clip on Instagram Reels, TikTok, and Twitter.
3. A “listen‑along” live session on his Facebook page, where fans could sing along and comment in real time.
4. A push on Spotify playlists that had previously featured his track.

The cycle resulted in a 30‑percent uptick in daily streams for the track in the week following the radio premiere. D Cryme’s team attributes this success to the “audio‑visual echo” that radio provides – once the song is heard, people are more inclined to search for it online.

The Future of Ghanaian Music Promotion

In a forward‑looking section, D Cryme muses about where the industry is heading. He emphasises the need for local artists to maintain an authentic connection to their audience while embracing the technological shift. The article references a discussion with Ghanaian media experts who argue that the key is “hybrid storytelling” – using radio and TV to set the narrative, then reinforcing it with social media content, interactive livestreams, and user‑generated content.

He also mentions that the industry is becoming more data‑driven. He states:

“Stations are now tracking analytics – how many people tune in, how many skip, etc. That data is gold. It helps us tailor our promotion strategy.”

Takeaways

• Traditional media remains a powerful tool: Radio ensures grassroots reach; TV provides legitimacy and visual storytelling; print and outdoor media deliver brand exposure in high‑traffic areas.
• A hybrid strategy is essential: D Cryme’s team uses traditional media to set the stage, then amplifies the message through digital platforms.
• Audience segmentation matters: Ghana’s demographics are split between digital natives and those who rely on radio and TV; a balanced approach ensures maximum reach.
• Data‑driven decisions: Radio stations now offer analytics that help artists tailor their content and promotional mix.

The Bottom Line

D Cryme’s interview is a reminder that while the digital era has reshaped how music is consumed and shared, the foundational pillars of Ghanaian media—radio, television, and print—still hold sway. For emerging artists, the message is clear: “Don’t abandon your roots. Harness every platform that can bring your music to a wider audience.” And as D Cryme confidently asserts, his team will never say they do not need traditional media; instead, they are mastering the art of blending the old with the new to create a dynamic, multi‑layered promotional ecosystem.