Every year, the same scene plays out across Accra. Flights land, hotels fill, and visitors step out into the heat, hungry for the city they’ve heard about. What they hear next is the real test of the season.

Ghanaian musician EL, who posts on X as Don Jaga (@ELgh_), has put that test into words. “Can we make this Detty December truly Ghana music-centric?” he asked.

A Short Post With a Big Argument?

EL’s post is brief, but it works like a manifesto. In a few lines, he makes a complete case:

• The audience is coming. “Thousands of visitors” are heading to Ghana this season.
• Promotion must be deliberate. He asks whether the country can be intentional about presenting Ghanaian talent to them.
• Culture is the draw. He argues that a big part of why people come to Ghana is to experience its culture, sound and music firsthand.
• The supply is not in doubt. In his words, Ghana has “more than enough incredible music and talent” to soundtrack the entire festive season.

He closes with a line that reads as an invitation and a dare: “Could We?..”

Why This Question Matters Now…

Detty December began as playful slang for the end-of-year run of parties, concerts, reunions and beach days. It has since grown into a seasonal economy in which travel, accommodation, dining, fashion, transport and live entertainment all peak at once.

Ghana has worked deliberately to attract that traffic. Campaigns aimed at the African diaspora, from the 2019 Year of Return onward, positioned the country as a place to connect with heritage and culture. That positioning is a promise, and EL’s post asks whether the festive season keeps it.

A visitor who spends two weeks in Accra should leave with a clear sense of what Ghana sounds like. If the soundtrack could belong to any city, then something valuable was left on the table.

Sound Is Part of the Destination

The strongest destinations know that music is a tourism product. Jamaica’s identity is wrapped up in reggae and dancehall, Brazil’s in samba and funk, and Nashville’s in country. Visitors come partly for the sound, and the destination is better for it.

Ghana has a catalogue to match:

• Highlife, the guitar-driven backbone of Ghanaian popular music.
• Hiplife, the blend of highlife and hip-hop that gave local languages a modern voice.
• Azonto, the dance movement that traveled across the diaspora.
• Gospel and traditional drumming, which carry the spiritual and cultural texture of everyday life.
• A new generation of artists, mixing Afrobeats, R&B, drill and rap with Twi, Ga, Fante and Pidgin.

EL’s claim of abundance is not boasting. It describes a deep bench waiting for a bigger stage. Credit: ameyawdebrah.com