Immy Owusu's New Single: 'Hard People' Out now

Immy Owusu’s ‘Afrodelik’ sound weaves together psychedelia, Zamrock, and Highlife, informed by his family’s musical roots and a desire to explore the trans-Atlantic ties between African rhythm, blues and rock ‘n’ roll. With several releases under his name (2023’s Australian Music Prize nominated LO-LIFE! and 2025’s collaborative EP ‘Spiritual War’ with producer Sensible J) Immy now returns with new single ‘Hard People’. The track serves as a tribute to his time spent under the tuition of his grandfather Koo Nimo, a legendary practitioner of Ghanaian ‘Palm Wine Highlife’ music. Produced by Henry Jenkins of the Grammy Award winning Frollen Music Library, Hard People is released on Friday 25th September. 

Growing up in the Australian coastal surf town of Torquay, Immy divided his time between the beach and the bush; playing in rock bands, honing his songwriting in his caravan and venturing to Ghana to study with his grandfather. Hard People is bolstered by an uplifting 12 voice choir, featuring Immy’s own father Kojo Noah Owusu, elders and peers from the Melbourne African music scene, who collectively echo the songs’ main chorus refrain. Choir leader Liona Tatafu (head of Halo Vocal Ensemble), directed the choir, referencing traditional Highlife which toomuch inspiration from Gospel and Akan music. Whirling synthesisers played by Matt Hall reference those heard in recordings from artists like Alhaji Waziri Oshomah, Alogte Oho & His Sounds of Joy and William Onyeaboor. 

Hard People explores the impact of difficult individuals and the importance of protecting your peace whilst staying true to yourself. Musically dedicated to Immy’s Grandfather and the Ghanaian ‘Palm Wine Highlife’ sound, the distinctive instrument in the track is the Frikywa (“free-chwaa”) thumb bell, a type of metal castanet that adds a rhythmic offbeat. This particular type of Highlife borrows significantly from flamenco traditions introduced to Ghana by Portuguese merchants, and can be heard within the open guitar chords which create a sense of warmth and space. Immy’s father, master Ashanti percussionist Kojo is a prominent feature of the live act, tying Immy’s foundational musical roots tightly into his present. The adinkra symbol in the right hand corner of the single artwork is the ‘Son Onyankopon’ (Of the creator), which teaches humility, trust during hard times, and the acknowledgement of divine authority (Faith) which provides inner peace, purpose and guidance. The single is accompanied by a heartwarming video in the backyard of Immy’s sharehouse, showing a glimpse into his life with friends and family sharing a Ghanaian-Australian BBQ whilst playing music together, filmed by Emmalene Vidot. 

Immy says of the single, “My parents often played my grandfather’s music while I was still in utero, and these familiar chords continue to bring me a sense of peace, calm, and comfort. At its heart, it carries a simple message: remain calm, stay authentic, and do not become overwhelmed by the difficulties of others.”




 

Afrodelikizm:  

I grew up listening to my parents’ Ghanaian hi-life music like Afro Moses and Grandpa Koo Nimo, but I spent most of my time moonwalking with my brother to Michael Jackson.  
As a kid growing up in East Melbourne I got into spittin' verses from 50 Cent, 2Pac and Eminem with all my multi-ethic friends. My best friend was from Iran, my other best friend was from Jordan. My first crush's family was from Italy and my second crush from Malaysia. 
I was 11 when my family moved to Torquay and I found myself maybe one of two brown kids at a school of Anglo-Saxon and Dutch heritage kids. 
I fell in with friends that listened to Korn, Metallica and Nirvana. The shredding guitar solos by Eddie Van Halen on Michael's "Beat It" helped my tolerance playing "Sweet Child O' Mine" as a drummer in EVERY garage band I joined. 

Three important albums came out in that defining year I moved to the coast: Red Hot Chilli Peppers' Stadium Arcadium, Wolfmother's Self Titled Debut and Black Eyed Peas' Monkey Business. Chad Smith's funk grooves, Andrew Stockdales' lyrical imagery and Will I Am's rap flow and production are my musical foundation to this day.  

Wolfmother naturally took me to Led Zeppelin. The controversy around Led Zeppelin took me to the early music of the African Diaspora. This led me back to Ghana to study with my Grandfather Agya Koo NImo.  

I originally went there to study Kette and other traditional drumming styles. Sadly the Ashanti Queen Mother Nana Afia Kobi Serwaa Ampem II had just passed. Out of respect a ban on drumming was in place for the months I was there. Instead Grandpa taught me his famous "Palm Wine Hi-Life" guitar style based on Dagomba and Samba. I learnt how African music had gone to the new world, and returned as latin, Jazz, Blues and Rock music to influence the music of Africa once again.   

After the release of my first EP I found myself lost, trying to impress people's idea of what they thought I should sound like. I tried to explain how I wanted to make "Afro-Rock" and Australians scratched their heads and kept calling my music "Reggae" and not being able to pronounce Owusu.   

In a sudden coincidence I happened to stumble accross the movie "Afro-Punk: The Rock 'n' Roll Nigger Experience." These were people like me, Pan Africans who had grown up in a "White Neighbourhood" listening to "White Music" feeling isolated from the rest of the Black American community. From then onwards I decided to dedicate my music to anyone (regardless of their shade of skin) who felt isolated in a culture felt not entirely their own. 

My music is for those disconnected from their heritage and stuck inbetween many others.  

My music is for you.  

Also coincidentally a girlfriend at the time showed me some music from a 1970’s Zambian band called Witch. "You're trying to make Afro-Rock, these guys made Afro-Rock." That's how I found Zamrock and West Afro Psych like Monomono, Amanaz, The Funkees and The Hykkers. These were africans trying to emulate The Rolling Stones and Beatles music that was being shipped to them from the Western world. It was originally music from Africa, half remembered by African slaves and appropriated with the colonial diaspora, appropriated by White America and appropriated back again by Africans. 
Finally appropriated by me, a mixed race Mulatto Auzzie trying to find his identity.  

What a journey to get to where I am.  

With my debut single 'Danger' I started to relax. I started to make the music I wanted to make. Heavy percussion and buzzy shredding guitars. Layered mixolydian Hi LIfe vocal harmonies and rhythms that call and are answered.  

I call it Afro-deli-k: 
My African Roots. 
My Psychedelic Space Of Mind. 
My Rock Heritage.   

I can't wait to create what happens next and I hope you are along for the ride.  

With Kindness  

-Immy 30th September 2020