Ghanaian music sensation, Peter Famiyeh Bozah, known by his stage name Fameye, has recently opened up about his stance on performing at the prestigious Afrobeats music festival, Afronation.

Renowned for his hit songs and charismatic stage presence, Fameye has revealed that he would politely decline any invitation to perform at an international event. His reasoning stems from a strong commitment to delivering exceptional performances that uphold his artistic integrity and match the energy of his audience.

In a recent interview, Fameye elaborated on his decision, stating, “Right now, like if you call me for Afronation Portugal, I mean I won’t go. Because I don’t have the people there. I want to work more so when I go, I will relate and I know I have certain people there that I have matched up to their energy.”

Fameye’s determination to provide top-notch shows and connect deeply with his audience has led him to prioritize careful preparation and cultivation of a loyal fanbase before venturing onto international stages. He is acutely aware that performing at global events demands a certain level of familiarity and resonance with the audience, which he believes he currently lacks.

The Ghanaian artist went on to highlight an observation about some of his compatriots in the music industry who have faced challenges garnering a substantial following during their international performances. He explained, “Even most of our so-called international artistes are unable to make the numbers when they travel out to perform. I won’t mention names. From 2019, I have performed in Canada, USA, Germany, and I have followed a couple of musicians for shows outside, when we are singing only few Ghanaians sing along. They are even shy. Why do you think people keep cancelling their show… they don’t come.”

Fameye’s concern for his fellow artists and the need for proper groundwork and preparation before international performances are clear indicators of his commitment to the craft and his desire to elevate the reputation of Ghanaian musicians on the global stage.

Furthermore, Fameye touched upon the stark comparison between the success trajectories of Nigerian and Ghanaian artists. He pointed out that Nigerians made a conscious and united effort to redefine the world’s perception of them through music.

This endeavor was made possible through strategic collaborations with promoters and investors who recognized the value of their music on a global scale. In contrast, he suggested that the support system and investment in Ghana’s music industry might not be as strong, thus impeding the growth and recognition of its artists on the same level.