Since her breakout in 2020 with “Forever, ” Gyakie has become one of Ghana’s most distinctive young voices — the kind of artist who can drift easily between highlife, Afrobeats, R&B, and soul, while still sounding entirely like herself. In the years that followed, she never disappeared;
instead, she steadily fed her audience with singles, collaborations, and performances across Africa and beyond. Each move felt like a step, each song a clue. And now, all those steps lead here: the release of her debut album, After Midnight.
For Gyakie, After Midnight is more than just a collection of songs. It’s the project she’s been building toward for years — her first complete statement, her way of saying: this is who I am, this is my sound, this is my story. Across 15 tracks, the Ghanaian singer embraces drill,
amapiano, gospel, R&B, and highlife, weaving them into a body of work that feels expansive but intimate, daring but rooted.
We sat down with Gyakie to talk about the making of her debut, the collaborations that shaped it, and what After Midnight means for her artistry and her future.
What inspired the title After Midnight?
Most of the songs on the album were recorded at night. That’s when I feel most creative, when my mind is calm and the world feels quiet. There’s just something about after midnight — that silence, that stillness — that allows me to pour everything out without distraction.
But the title also symbolises transition. Midnight is both an ending and a beginning. It marks a shift, a moment when one day closes and another opens. For me, this album represents that exact moment in my career. I’ve been building, I’ve been learning, I’ve been growing, and now I’m stepping into a new chapter. After Midnight is me saying: this is the dawn of who I am as an artist.
This is your debut album. What was the journey like putting it together over three years?
Honestly, it was a rollercoaster. People sometimes think three years is a long time, but for me it was necessary. I released singles during that period, so I wasn’t gone, but I wanted my first album to be something special, not just a random collection of songs, but a project that
reflected everything I’ve been through. There were times when I questioned myself: Should I drop it earlier? Should I wait? Should I change direction? Some songs got recorded and then didn’t make the cut. Others stayed with me for years because I knew they belonged here. It was intense, but it was also beautiful. I learned patience. I learned that music has its own timing, and that if you stay true to the process, the right songs will find their way to you.
You worked with some big names — 6LACK, Shatta Wale, Kojey Radical,Young Jonn, Omar Sterling & Headie One. How did you decide on those collaborations?
For me, it’s always about energy. With 6LACK, his voice has this soulful calmness that felt perfect for the track we did. It wasn’t just about featuring an international artist — it was about what his energy could bring to the song. Shatta Wale, on the other hand, brought pure fire. He represents Ghana in such a bold way, and the track needed that raw, street power that only Shatta can deliver. Kojey Radical adds depth. He has this poetic quality to his music, and I wanted that edge on the
album. And then Young Jonn — he’s a vibe machine. His presence just made everything lighter and more playful, which was exactly what that track needed. None of these collaborations was forced. It wasn’t about ticking boxes. It was about finding the right voices for the right songs, and I think that’s why they sound so natural.
You sampled your father’s song on the intro. Why was that important to you?
My dad is Nana Acheampong, and he’s such a huge influence in my life. Growing up, I saw what music meant to him and to people around him. Even when I didn’t think I’d be a musician, I realise now that I was absorbing all of that. Sampling his work on the intro was very personal for me. It’s like saying, “This is where I come from, and this is where I’m going. ” It connects two generations of music — his highlife and my
sound. It’s also a way of honouring him while reminding myself that I’m carrying a legacy, but I’m also shaping my own.
The album moves across genres, including drill, Amapiano, R&B, highlife, and even gospel. Which sound challenged you the most?
Drill, definitely. People don’t expect Gyakie on a drill beat. My natural style is soft, melodic, and emotional, while drill is sharp, aggressive, and heavy. The first time I heard the beat, I honestly thought, “How will I even fit in here?” But I love challenges. I experimented a lot — changing tones, shifting flows — until I found a balance where I could still be myself but also respect the drill energy. In the end, it worked beautifully. It stretched me as an artist, and it made me realise I can’t be boxed into just one sound.
Looking back at your first release in 2019, how do you feel you’ve grown since then?
When I first came out, I just wanted people to hear me. I wasn’t thinking too much about long-term plans. I just knew I had a voice and I wanted to share it. But now, I’m more intentional. As a storyteller, I’ve grown a lot. I see music differently now — not just as single songs, but as a
journey. That’s why After Midnight feels cohesive. I wanted it to feel like you’re walking through different rooms of my mind and heart, not just random tracks put together. Even the transitions matter to me. It’s all part of the story.
You’ve spoken about wanting to see more women in Ghana’s music scene. Do you feel things have changed?
Slowly, yes. There are more women making moves now, and I’m proud of that. But compared to the men, we’re still not where we need to be. It’s not about talent — because the talent is there. It’s about opportunities, structures, and sometimes society’s mindset about women in music.
I want to be part of that shift. If my journey inspires even one young girl to believe she can do this too, then I feel like I’m helping to make a difference. It’s not a competition; it’s about building a community where more women can thrive.
Fame can be overwhelming. How do you protect your peace in an industry that constantly tries to define you?
It hasn’t been easy. At first, I used to take everything to heart — every comment online, every opinion about me. But I realised quickly that if I let that control me, I’d lose myself. Now, I know when to step back. I use social media, but I also take breaks. I keep my circle close— family and real friends who see Jackie, not just Gyakie. I spend time doing ordinary things like cooking or watching shows. Those little things ground me. Protecting my peace is not a luxury. It’s survival.
What do you want After Midnight to say about your place in African music?
That I’m here to stay. That I’m more than one hit song. After Midnight is me planting my flag. It’s me saying: I can experiment, I can grow, I can tell stories, and I can give you music that lasts. I also want people to see the diversity of African music in this album. We’re not one sound —
we’re many sounds, many moods, many cultures. That’s what makes us powerful. This album is my way of contributing to that bigger picture.
