You would be sadly mistaken to confuse Moliy’s silky whisper for timidity. While the 23-year-old’s fairy-like tone may disarm listeners, closer inspection of her music reveals a young woman who’s anything but afraid to speak her mind. Last year, Moliy made her debut on the Accra scene with Wondergirl, a 6-track EP made up of stories about exes, nights out with girlfriends and securing the bag - all doused in her signature pixie dust.
When I connect with Moliy over Zoom, she’s sat on the veranda of the quaint Accra home she was raised in and returned to when seeking realignment. Moliy, who immediately announces herself as an open book, shares that she decided to pursue music professionally after her family fell on hard times. Faced with deciding whether to continue making ends meet as a college student abroad or figuring out her future from home, the youngest of three kids chose the latter.
It is no coincidence that one of Moliy’s most notable features is on Amaarae’s “SAD GIRLZ LUV MONEY”. With a stellar debut under her belt, this rising star is focused on achieving financial independence and representing her family and city.
From the pandemic to uprisings, it’s generally been a rough year for African countries. What’s the vibe like in Ghana right now?
It depends. It’s fun but there's also some tension with the LGBTQ community. There's some [sic] bills being made that are just backwards, and we're past this. Ghana is one of the most trendy countries right now, and yet, our government system is this backwards? How are you able to make it ideal for people in the diaspora to come and enjoy the economy and make money, but then the people that actually live here don't have the freedom to express themselves. It makes no sense. I believe love is love, and it just seems unfair to criminalise someone's nature.
As someone who grew up in Accra, how does it feel to see your home become a full blown tourist destination?
It's new, it’s different. I remember when it started to feel like Ghana is actually a really cool place to live, and this was in 2016. I started realising the nightlife is very dope! And then slowly, you would see that it's even bigger than the year before and more people are coming and enjoying it, all the way to the Year of Return.
Shekhinah Wants to Help People Through Music, Starting with Herself
What was that experience like for those already living in Ghana?
I didn't see it coming, but I just want it to be a situation where it benefits Ghana and the people who live here. So far, it just kind of seems like life is getting more expensive. Now they're pricing things, not for the people who live here but the people who come to enjoy the country. On the plus side, I feel like it's given us the opportunity to open up the world, not just musicians but different kinds of creatives. Whatever world I could have had before is much different now because there's way more opportunity.
"A “Wondergirl” would be a woman that's really comfortable within herself. She's fierce and she's content."
How far did you take “real life” before pivoting to music?
I attempted to go to uni, I think I did one semester, and then we fell on hard times. We moved to a whole new country, we had to pay rent, and I'm half American, but I still had to pay out-of-state tuition. It was so ridiculously expensive. At the time, my mum was in Ghana by herself, and I'm like, you know what, I'm going back to mum because I don't want her to be alone anyway. [Giggles] I also had a boyfriend back home in Ghana.
I’m glad you said that because growing up on the continent, leaving can seem like the dream but then you don't realise that a whole new set of problems come with being an immigrant abroad.
It’s lonely, and the system is different. Like, even to get housing and stuff they’ll still expect you to have someone else on the lease to verify that. It’s crazy. I tried working at Victoria's Secret, and when I tell you, my back was killing me, *“mi sisi y3 mi ya”, like it's crazy. I don't know how people do these jobs because I realized, no, that's not for me.
*my waist was hurting
You seem to be surrounded by strong women figures, like your sister and your mum, what is your definition of a “Wondergirl”?
A “Wondergirl” would be a woman that's really comfortable within herself. She's fierce and she's content. The main thing is a sense of confidence, a sense of knowing your worth, a sense of knowing everything you're capable of.
Have you always been a Wondergirl?
Even as a kid, I was a very proud girl. My mum raised me and my siblings to be equal. Whether you're a boy or a girl, you're all getting the same allowance; you're all going to the same schools, you're all getting the same presents, the same amount of love. So I grew up with that in my mind. There was this bully in school, and we were in the cafeteria, and I don't know what happened, but for some reason, I had my shoulder around him, and I was throwing him around the cafeteria. That's one story I remember, and it just makes sense that I'm who I am today.
Do you recognise this spirit of standing up to bullies and oppressors across your generation of Ghanaian women?
I do! I see it in the music, I see it in the way women dress, I see it in a lot of ways. They’re doing things for them and not to please anyone, and I love it. It makes me feel empowered. There's almost like a revolution, it feels like one.
There’s such a wave of women artists on the continent right now, who are you listening to?
Definitely! I love women from Nigeria. I love Simi, I love Yemi Alade, Tiwa Savage - the queen. Efya from here in Ghana, she's amazing! Amaarae is a star, Moonchild Sanelly and Shomadjozi from SA, they're really dope. There's some new R&B wave going on in Kenya, and I don't know what the hell is going on there but Xenia and Karun, they're coming from Kenya with some different waves. All the African women coming out are making different waves, it's pretty exciting.
It’s great to see all the progress but it’s still difficult to be a woman in the music industry. How do you manage hurdles like the excessive beauty standards?
It's a lot of pressure because on most days, I'm very simple. Knowing that people are going to judge or criticise what you're wearing is a lot of pressure, especially when you're upcoming and may not have the finances to keep up. I have a very thoughtful team and a sister who's also in the industry; she's around me most of the time so I feel safe. I know it can be a scary industry, so I think the most important thing is keeping the people that I trust close.
Did you experience pushback for wanting to just be yourself even if that self was “simple”?
Before I entered the industry, I was looking for managers and investors, and I noticed the people I was looking to start my journey with would already have a vision for what I should be and the kind of music I should make: “You’re light skinned, you're pretty, we’re just going to write these Yoruba songs for you to sing.” That wasn't the plan though, I didn't want to be something that already exists. I want to be something new. It almost broke my spirit.
Speaking of beauty standards, colourism is pervasive in the music industry globally. How have you navigated the unique shape it takes on the continent?
I really want to be able to not offend Black women in any way. I have an awareness about it and I just want to be supportive and understanding because I know it's very apparent that because I'm light skinned and all of that. I know there's things [sic] that come with it and I can't change who I am but I can possibly help more Black women with the opportunities that I’m given.
Beauty standards are one thing, but for African women, we also experience strict morality standards. Your video for “Loud” captures girlhood, coming of age and the experimentation that comes with it. How important is it for you to showcase yourself existing outside societal expectations for young Ghanaian women who, for example, aren’t expected to smoke weed?
It’s very simple to me, Wizkid can do it, Burna Boy can do it, Wiz Khalifa can do it, I can do it. It’s that simple. I like weed. You don't like weed? Don't do it. I'm not promoting it for you, but I'm showing that there's people [sic] like us who exist, and that way people can feel connected to it, because are we just going to act like it doesn't exist? This is my life, and I want to proudly be able to show it. Honestly, the goal of that video was like, yeah, we're smoking weed but we're not gangsters, we're not doing horrible things, we're just normal people, and it’s just vibes so like relax!
What’s your formula for creating a baddie anthem like “Ghana Bop”?
It just started with “Everything I do / I'm killing it.” Then I just started going “I'm that spice / so you need seasoning / Cut you off quick / I don't need a reason.” That line was for my ex at the time [Laughs]. I knew I was making a song about confidence but I wanted it to be a dance song, and I wanted it to be a bop song because I could see successful artists like Ms Banks and Stormzy, even Falz the Bahd Guy, had bop bop going.
That’s actually smart in this streaming era.
If I'm going to say the truth, I may not exactly be feeling the way I'm singing but I speak it into existence. During the whole process of Wondergirl, I was going through many things. Number one was the lockdown, feeling like your time is wasting and life is just passing you by. Another was knowing that I had come here, my family is apart and so many things are banking on me being successful, and I'm not being given the opportunity to show that. So I just need to put a project out, I don't know, like, if it's going to be successful, but I just want to do this project. It's almost a release. Once I have that therapy session in the booth, I don't think it's going to affect me anymore. That's kind of how it goes.
There’s been a recent push to stop conflating all African music into one genre. Do you care when people naively say artists from the alternative scene don’t make music that sounds “Ghanaian” or “African”?
I don't care because I don't want to make mainstream music, so you can call it whatever you want. I'm going to make whatever it is that I'm feeling. Maybe not having a label is a good thing. Now, you just see what's mainstream and what's not and I think already that's a good start, they're starting to differentiate. I think my first experience of seeing someone with success making different music was Amaarae. I'm like, “Oh shit! She's making this music? She's from the city? What?!”, it just kind of opened my eyes. The more of us that are coming out, they're going to have to create a space. They're not going to have a choice. So at this point, whatever is happening, I'm unbothered.
What music influences your sound?
I really like R&B. When I say R&B, I mean H.E.R., Summer Walker kind of vibes. I also really like Cassie. I like Dancehall, Vybz Kartel, Movado, Beenie Man, that kind of music is exciting. Obviously, Wizkid, Burna Boy, Rema, like they're killing it. I absolutely want to work with all of them. And I like rap music.
What five albums would you say are your foundation as an artist?
Drake — Nothing Was The SameRihanna — LoudKanye West / Various Artists — Never Say Never Kanye West Presents: Good Music — Cruel SummerJerimih — Late NightsBurna Boy — African Giant
Did you ever think your music career would come together this seamlessly?
I'm blessed and living in my purpose is why all this is happening. But let's say I wasn't, let's say I was just a girl and I just really liked music and I just wanted to be a part of it. It could have been bad if the attention wasn't on “Afrobeats” music and all of that right now. It could have been a different outcome, an outcome where I was just another light skinned girl trying to imitate. It could have been a flop!
Okaaay, but it’s not!
But it's not and the future is just looking brighter and brighter!
This interview has been edited for brevity and clarity.