Epixode Defends Use of Patois in Ghanaian Music, Responds to Lord Kenya’s Criticism
Epixode Responds to Lord Kenya’s Criticism of Patois Use in Ghanaian Music
Ghanaian dancehall artiste Epixode has addressed recent comments made by former hiplife legend turned evangelist, Lord Kenya, who criticized the increasing use of Jamaican patois by Ghanaian musicians, especially those in the Reggae and Dancehall genres.
In an interview, Lord Kenya expressed concern over what he called the overuse of patois, describing it as “disturbing to the ears” and a threat to the authenticity of Ghanaian music. According to him, many young artists are relying too heavily on the Jamaican dialect, to the detriment of their own cultural and linguistic roots.
Epixode, known for his high-energy performances and lyrical depth, offered a calm but direct response. While acknowledging Lord Kenya’s legacy and contributions to Ghana’s music industry, Epixode emphasized that the use of patois in Ghanaian music is not about imitation but self-expression.
“Me, I speak street patois,” Epixode explained. “I can’t get it 100% because I’m not Jamaican, and I’ve never claimed to be. But I express myself the way I know how.” He further clarified that for most Ghanaian dancehall artistes, patois is used more as a creative tool than a cultural identity statement.
Epixode acknowledged Lord Kenya’s influence, particularly in terms of stage presence and performance artistry. However, he was candid in his disappointment over the tone and implications of Kenya’s remarks.
“No disrespect to Lord Kenya, but patois comes in different levels,” he said. “It would have been nice for someone with such a legacy to sit this one out, because it gives room for people to disrespect him.”
Rather than dismissing the contributions of today’s musicians, Epixode urged industry veterans to support the new generation of artists who are striving to keep Ghanaian music relevant both locally and internationally.
“Don’t trash our hard work,” he appealed. “We are all building on the foundations they laid. We’re not trying to erase their legacy—we’re extending it.”
The award-winning dancehall artiste also touched on a larger issue within the industry: the tendency to gatekeep musical evolution. He argued that music should not be judged solely based on the dialect used, but on the energy, message, and impact it delivers.
“Music transcends language,” Epixode said. “Whether it’s Twi, English, or patois, what matters most is the vibe and the longevity of the song. Our music is reaching international audiences, and that should be celebrated.”
Despite their differences in opinion, Epixode maintained that he still holds Lord Kenya in high regard, particularly for his influence on stagecraft and performance. “He’s one of my role models when it comes to performance,” Epixode admitted. “But this particular criticism holds no water, especially now that Ghanaian music is breaking boundaries.”
As Ghana continues to play a significant role in the global Afrobeats and dancehall scenes, the conversation around cultural authenticity and artistic freedom remains important. Epixode’s response serves as a reminder that younger artists are not disregarding their roots—they are evolving, innovating, and striving to make Ghana’s voice heard on the world stage.
