In his latest release, “Obroni Kɔkɔɔ,” Ghanaian-German artist Giddens delivers an Afrofusion-meets-Afrohouse anthem that is as personal as it is political. The title, meaning “Red Foreigner” in Twi, recalls the nickname Giddens carried as a mixed-race child navigating life between Accra and Germany. What emerges is a track built on driving rhythms and raw storytelling, a sound equally suited for the dancefloor and for late-night reflection.
“Obroni Kɔkɔɔ” wrestles with the paradox of Ghanaian identity and culture. Returning to Accra in March 2025, Giddens found himself immersed once again in the tension between ambition and restraint. On one side lies a vibrant, creative energy pushing Ghana forward; on the other, an entrenched culture of obedience that suppresses inquiry and rewards compliance. It is a duality he distills into layered percussion, haunting synths, and vocals that shift between fiery urgency and introspection.
The song’s inspiration draws directly from lived experience. Giddens reflects on everyday rituals in Osu, where small acts of survival blur into systems of quiet exploitation. A man who charges a “watching fee” for your parked car becomes symbolic of broader cycles: necessity dressed as tradition, acceptance mistaken for order. For Giddens, these are not isolated encounters, but mirrors of a society that teaches children from childhood to obey rather than question. Schools reward memorization, churches enforce spiritual fear, and households echo the refrain of “Do as you are told.”
By framing these observations within an irresistible Afrohouse groove, Giddens transforms critique into movement. “Obroni Kɔkɔɔ” is more than a song; it is a statement about heritage, diaspora, and the courage to challenge ingrained narratives. In doing so, Giddens affirms that music can be both deeply personal and universally resonant, carrying rhythm and resistance in equal measure. With this release, Giddens continues to prove that art is not just entertainment; it is memory, protest, and identity in motion.