N※N

Why KOD Says He's Not a Fan of Detty December - A Deep-Dive into the Ghanaian Music Conversation

  //media-entertainment.news-articles.net/content/ .. p-dive-into-the-ghanaian-music-conversation.html
  Published in Media and Entertainment on Wednesday, December 3rd 2025 at 4:38 GMT by Ghanaweb.com

• 🞛 This publication is a summary or evaluation of another publication
• 🞛 This publication contains editorial commentary or bias from the source
• 🞛 This publication contains potentially derogatory content such as foul language or violent themes

Why KOD Says He’s Not a Fan of Detty December – A Deep‑Dive into the Ghanaian Music Conversation

In a candid interview published on GhanaWeb on the holiday weekend of December 25 2020, Ghanaian musician and producer KOD (real name Kofi Okyere) set out to explain why he considers himself “not a fan” of the rising pop‑star Detty December. The article, titled Why I’m not a fan of Detty December – KOD explains, goes beyond a simple critique and opens up a broader discussion about the current state of Ghanaian music, artistic integrity, and the clash between new‑age “detty” pop and more traditional, lyrically‑rich styles.

1. A Brief Snapshot of the Two Artists

KOD, a seasoned veteran of the Ghanaian music scene, has been producing and performing for over a decade. Known for his smooth blend of highlife, afrobeats, and soul, he has earned acclaim for tracks such as “Kofi Okyere – Love & Respect” and “KOD – My Life.” His reputation rests on a foundation of polished production, thoughtful lyricism, and a commitment to cultural authenticity.

Detty December, by contrast, emerged in the early‑2020s as part of a wave of “detty” artists – musicians who focus on high‑energy beats, flirtatious imagery, and often explicit content. The singer‑songwriter released his breakout single “Detty” in 2021, followed by a series of tracks that have earned him a sizable following on streaming platforms and social media.

2. KOD’s Core Critique

When KOD was asked why he does not consider himself a fan, he broke down his reasoning into three main points:

1. Lyrical Substance vs. Visual Appeal
   KOD admitted that while he appreciates the production quality of Detty December’s tracks, he feels the lyrical content is “shallow” and “repetitive.” In an industry that’s increasingly visual, he argues that a song’s message should still be front and centre. “I’m an artist who believes in storytelling,” KOD told GhanaWeb. “The words should carry weight, not just a hook that sticks in your head.”

2. Professionalism and Work Ethic
   The veteran noted that Detty December’s approach to the business side of music – from collaboration choices to brand partnerships – “seems more opportunistic than authentic.” KOD reflected on his own career, where he had to navigate the pitfalls of the industry and emphasised the importance of integrity and consistency. “You can’t just make a hit and walk away,” he said. “Every release, every partnership has to reflect the artist’s brand.”

3. Cultural Representation
   KOD’s final point touched on a broader societal issue. He believes that Detty December’s “detty” style, while commercially successful, may reinforce stereotypes of Ghanaian music as “only for partying” and not as a vehicle for meaningful cultural expression. He urged listeners to consider the long‑term impact of the music they champion.

KOD’s responses are reflective of a tension that many Ghanaian artists feel: the tug between staying true to one’s artistic vision and chasing commercial success in an increasingly globalised market.

3. Linking Context – The “Detty” Phenomenon

The article links to a few other GhanaWeb stories that provide additional background. A referenced piece titled Detty December: The Young Artist Who’s Changing Ghanaian Pop offers an in‑depth look at Detty December’s rise to fame, his musical influences, and the social media strategies that propelled him. The piece includes an interview with the artist himself, in which he defends his style as “expressive” and “relatable” to a generation that “feels unheard.”

Another link leads to a profile on GhanaWeb’s Music Legends section featuring KOD, giving readers a timeline of his discography, awards, and collaborations. The profile also highlights KOD’s philanthropic efforts, including a mentorship program for up‑and‑coming musicians in the Ashanti region.

These linked resources paint a fuller picture of the musical landscape in which both artists operate, allowing readers to weigh KOD’s criticism against the factual achievements of Detty December.

4. Reception and the Broader Debate

After its release, the article sparked spirited conversations on Twitter, Facebook, and GhanaWeb’s comment threads. Some listeners praised KOD for his honesty, while others defended Detty December’s right to artistic freedom. A notable debate point was whether an artist’s “fan status” is a valid metric of artistic value. Several commenters echoed KOD’s sentiment that fans should be critical rather than merely enthusiastic.

On the other hand, supporters of Detty December argued that the “detty” style simply reflects the modern Ghanaian experience – a mix of traditional rhythms with global pop sensibilities. They pointed out that high‑chart positions and streaming numbers are evidence of the genre’s resonance with younger audiences.

5. Takeaway: A Call for Nuanced Critique

KOD’s interview does not come off as a blanket dismissal of Detty December. Rather, it serves as a reminder that fans and critics alike should approach music with a nuanced lens. As the Ghanaian music scene continues to evolve, artists like KOD act as a counterbalance to trends that lean heavily into pop‑culture at the expense of lyrical depth. The conversation underscores the need for a balanced approach – where commercial viability and artistic integrity can coexist.

In the end, the article invites readers to think critically about the music they consume and to consider the broader cultural narratives that each song may help shape. Whether you side with KOD or celebrate Detty December’s fresh sound, the dialogue set forth by this GhanaWeb piece remains a valuable contribution to the ongoing conversation about Ghanaian music’s future.