Ghanaian gospel musician Piesie Esther has commended dancehall star Shatta Wale for his considerable influence, impressive ability to mobilise supporters and consistent advocacy for the interests of Ghana’s music industry.
Speaking during an interview with MC Portfolio on Angel FM in Kumasi, the gospel singer observed that the gospel music fraternity could achieve remarkable progress if Christians demonstrated the same degree of solidarity, loyalty and collective support associated with Shatta Wale’s dedicated fan base, popularly known as the Shatta Movement.
According to Piesie Esther, the dancehall artiste has repeatedly used his influence and public platform to speak about challenges confronting the Ghanaian music industry, particularly issues affecting musicians and the broader entertainment sector.
She maintained that his willingness to champion matters concerning the industry was commendable and deserved recognition, regardless of differences in musical genres or artistic backgrounds.
The gospel musician further described Shatta Wale as an exceptionally influential entertainer whose ability to attract enormous audiences and command the loyalty of a substantial following demonstrated a remarkable level of public appeal.
She suggested that the organisation, enthusiasm and unwavering support displayed by members of the Shatta Movement offered an important example for the gospel music community, particularly regarding the need for greater unity and collective encouragement among Christian musicians and their supporters.
Piesie Esther also openly expressed her admiration for the dancehall star, revealing that she draws inspiration from his ability to attract large crowds, connect with audiences and maintain an extensive following.
She indicated that she taps into the grace associated with his remarkable audience appeal, suggesting that the gospel fraternity could benefit from embracing a similar spirit of commitment, organisation and support.
Her comments have brought renewed attention to the importance of solidarity within Ghana’s music industry, particularly the need for musicians, fan communities and industry stakeholders to support one another irrespective of their respective musical identities.
The remarks also highlight the broader question of how collective loyalty, effective audience engagement and sustained advocacy can contribute to the growth and visibility of Ghanaian music.
