There are DJs, and then there’s AD DJ, a cultural conduit who has turned the booth into a pulpit. After hitting what he describes as “a rock” in 2023, the Ghanaian turntablist did what most artists only dream of: he tore up the map and redefined his route. Instead of chasing validation in local circuits, he doubled down on mobility, risk, and reinvention, carrying his decks from city to city, all while nurturing a growing reputation as one of the most versatile and spiritually grounded DJs on the continent.
This bold pivot recently earned him one of the most prestigious gigs in African sports entertainment: Official DJ for Season 5 of the Basketball Africa League (BAL). From Rabat to Kigali, Dakar to Pretoria, AD DJ has been sonically anchoring a Pan-African tournament that fuses high-performance sport with vibrant Afrocentric culture. It’s not just that he’s playing music at these games, it’s that he’s curating mood, igniting stadiums, and translating African identity through basslines and BPMs.
But AD DJ’s journey isn’t about glamour. His answers reveal a man who is still deeply inside the hustle. He speaks of gratitude, of not being able to fully enjoy the wins as they come, and of constantly working while others celebrate. What grounds him is his faith, an unwavering belief that his path is divine, not algorithmic. There’s no label push or flashy co-sign here; just intention, grind, and purpose. It’s rare to encounter such humility wrapped in such audacity.
In this candid conversation with Upper Entertainment, AD DJ walks us through his reset year, the grind behind his BAL gig, his commitment to pushing Ghanaian excellence beyond borders, and what he hopes the next wave of African DJs will stand for. It’s a rhythmic reminder that sometimes, the only way up is all the way out.
Let’s rewind a bit. Who was AD DJ before the decks, before the gigs? What were the early sounds or moments that lit the fuse?
Before the stages and spotlights, I was just a curious kid figuring things out with music software. Back in St. Augustine’s College, I used to create edits for my friends’ dance routines. We called it “Acid” at the time. I’d use old-school CD-burning software (Nero 8 or 9 ) to chop and arrange sounds. I’d travel from Cape Coast to Accra just to fine-tune those mixes, then head back to school before the weekend for the performances. That was the spark, not gigs, but the joy of building something from sound.
Was there a specific set, song, or city that made you say, “Yeah, I’m meant to do this”?
It’s never just one moment, it’s a feeling that hits me repeatedly. Every time I step on major stages like Afrofuture Festival or The BAL and see the crowd reacting to my set, it reminds me why I’m doing this. It’s not one song, it’s the synergy of selections, the build-up, the sequencing. That’s when I know: this is what I’m meant to do.
You came up in Ghana — a scene that’s fast-changing and genre-blending. How did your environment shape your sonic palette?
Growing up in Ghana, you’re constantly surrounded by musical evolution. Genres blend and shift so fast that you either keep up or get left behind. That pushed me to become musically versatile. I learned to play everything, from Afrobeats to trap to highlife, and that made it easy for me to adapt to new cities and global crowds. Ghana made me open-minded, and it trained my ear for the world.
You’ve got this deep curatorial style, not just mixing but storytelling. What’s your philosophy when you step behind the decks?
I never walk in with a fixed setlist. I prepare for multiple vibes and scenarios, and then I read the room. I watch how people move, what they’re wearing, their age range, the event setting. All of that guides my direction. I want to tell a story that connects. DJing isn’t just about songs, it’s about interpreting the energy in the room and responding in real-time.
If someone who’s never heard you play asked, “What does AD DJ sound like?” — what’s your elevator pitch?
AD DJ is the guy who’ll play you that one song you didn’t even know you were craving. Good DJs play what you want. Great DJs play what you didn’t know you needed, and that’s where I live. I sound like surprise. I sound like greatness.
How do you balance the pressure to read the room versus pushing new sounds that might challenge your audience?
There’s a bit of science to that. I sandwich the new or unfamiliar track between two crowd favorites. It creates a psychological effect, people instinctively trust the unknown because of what came before it. It keeps the dance floor alive, even if the energy dips momentarily. You can experiment without losing the crowd, if you understand timing and emotional flow.
Your Instagram caption about 2023 was so raw: “I hit a rock…” Can you walk us through that personal breaking point? What happened?
2023 started rough. I lost my spot on YFM after nearly 9 years, a platform that shaped a huge part of my DJ identity. That sudden silence was crushing. But looking back, that “rock” was just a detour to gold. I started seeking opportunities beyond Ghana, and in under two years, I landed a global gig as the official arena DJ for BAL Season 5. That loss created space for a bigger win.
What did it take emotionally, financially, spiritually — to bet on yourself the way you did right after that?
It took everything. Mentally, I had to let go of the idea that YFM was my ceiling. Financially, I bet what little I had. I set goals that were way bigger than what my pocket could afford, but I took the first step with faith. And when I did, things began to align. God showed up for me. Every move I made after that was led by grace.
Becoming the official DJ for BAL Season 5 is huge. How did that come to be? Who made the call?
Honestly, it was divine timing. I didn’t even know I was being watched. I was just showing up, doing my thing — especially at events like Afrofuture. Turns out, some key figures within BAL had taken note. One thing led to another, and the call came through. It was all about consistency and preparation meeting the right moment.
You’ve played in Rabat, Dakar, Kigali, and Pretoria. How do you translate your sound for such culturally distinct cities?
Music is universal. The delivery is what changes from city to city. But because I’d already been traveling and absorbing different sonic languages, I came into BAL with a toolkit that allowed me to adapt quickly. I understand that it’s not just about the songs — it’s how you deliver them that counts.
What’s the vibe difference between a club set, a cultural festival, and something like BAL — which is equal parts sport and spectacle?
BAL is a machine — very coordinated and time-sensitive. It’s not just about vibes, it’s about precision and readiness. A club set is freer, more instinctual. Festivals are somewhere in between. With BAL, you have to be locked in from start to finish. It’s a different kind of discipline, and it keeps you sharp.
I see myself as a blueprint for the next generation. I’m not just DJing — I’m redefining what a DJ can be, especially in Africa. I want young DJs to realize that they can travel, collaborate, innovate. The world is big, and our craft has no borders. I’m daring by design, and I want them to be too – AD DJ (2025).
You said you barely get to enjoy your wins because you’re always grinding. What grounds you in moments like this?
I’m incredibly goal-driven, so once I hit a milestone, I’m already chasing the next one. It’s a blessing and a curse — it keeps me hungry, but it also means I rarely stop to celebrate. What grounds me is the hunger to keep evolving, and the understanding that I’m part of something bigger than myself.
Your caption also gave heavy praise to the “Most High.” What role does faith or spirituality play in your creative engine?
Faith is at the center of everything I do. I may not always speak on it publicly, but it’s there. Every opportunity, every breakthrough — it’s all grace. I don’t take any of it lightly. I’m constantly in awe of how far God has brought me.
You also shouted out people who support you “in the shadows.” Who are those people — mentors, collaborators, day-ones? What do they mean to you?
There’s a long list — from mentors to quiet supporters who don’t ask for credit. Some prefer to stay behind the scenes, but their impact is loud in my story. They’ve encouraged me, opened doors, prayed for me, and held me down. I call them God’s silent reinforcements.
You’re building something that feels bigger than just “DJing.” Do you see yourself more as a cultural ambassador, tastemaker, or something else entirely?
I see myself as a blueprint for the next generation. I’m not just DJing — I’m redefining what a DJ can be, especially in Africa. I want young DJs to realize that they can travel, collaborate, innovate. The world is big, and our craft has no borders. I’m daring by design, and I want them to be too.
With the Ghanaian scene evolving and Afrobeats branching out, what do you think DJs can do right now to shape the next phase of African sound?
DJs need to stop waiting for the music to be finished. We should be part of the process — curating, producing, shaping sounds from the ground up. We know the pulse of the people. More DJs are producing now, dropping their own tracks, and that’s the future. We’re not just playing the culture — we’re helping create it.
After BAL, what’s the next mission? Another reinvention? A return home? Or are we doubling down on this global takeover?
Next up is the release of my “AFRICAN NOW” mix on Apple Music for July 2025. That’s massive. And with summer around the corner, I’m looking forward to connecting — not just working, but meeting the thinkers, creators, and power players in this industry. This isn’t a return. It’s an expansion.
