A series of murmuring and chattering have been going on offshore since the release of the video for Koo Ntakra’s controversial hip hop freestyle song ‘48BARS’.
The King of Kofcity tends to be spearheading his rap game to another level and has received plaudits from some renowned media houses and Ghanaian music aces as most of them complimented by affirming the track’s musical context, the video setup, the filming techniques, the costumes and the entire approach appears to be very similar to Sarkodie’s ‘Take it back’ video which had a couple of fast rising & promising talents (including himself, Koo Ntakra) in the music industry names and their works being commended by Ghana’s rap King.
“48 Bars’ is lyrically packed and demonstrates who Koo Ntakra is in the music scene. He listed some of his achievements as a rap artiste; and I can say the young rapper has really worked hard and still working to hold on to the Akuapem rap legacy. This is pure fire and the beat got torn apart”, this is what renowned Ghanaian – Belgium based blogger, Komla Aborga said in May this year when the song was released.
The music video saw Koo Ntakra in his fur coat in most of the scenes with newspapers set covering the entire background. What this means to us is that, the newspapers represents the headlines he has made since he appeared in the music scene. More like an evidence or testimony to his claims.
The dashing rapper continued to voice out his achievements in the freestyle and questioned people why they still doubt his lyrical prowess, as he threw more jabs on other arts, same way Sark did in his controversial ‘Take it Back’ song.
It is often said that “when we seek to discover the best in others, we somehow bring out the best in ourselves”. The circulating chattering by far put the young talent’s piece above his icon which has sparked a whole lot of arguments and controversies on several media platforms.
This story is developing, and you can also judge for yourself by watching both videos and drawing your own conclusions from its contents.