The gods of Hi-life Friday night set blazing fire under the feet of their worshippers at the National Theatre and got them dancing, singing, and turning all night long. It was dubbed the hi-life festival which brought together 24 of Ghana’s most celebrated indigenous and contemporary hi-life arts on one stage, one night and got patrons almost to a point of intoxication. The living legends of highlife rocked the stage, and brought back old memories to patrons of their generation and got the latter day saints thinking if hip-hop or with a life is the right and only way to go. From 7:00 pm to 2:00 am the seats at the National theatre were hot, the feet of the patrons were burning and the only remedy was to shake them off with a dance. Slowly, the gala, organised by Mark Okraku Mantey in collaboration with Joy FM and GH One started with ‘Ayefe notse’ by young enterprising King David setting the audience into the right mood. Then Felix Owusu's ‘waben’ got the groove on and when Dr, Paa Bobo arrived, the theatre was in absolute raptures. The doctor of highlife had his prescriptions ‘Efie mpo nie’ ‘Asobotsre’ sweep through the crowd like a flu. It was impossible to sit. Everybody was up singing; turning; dancing. Highlife is alive, the crowd roared. The traditional-African-highlife legend, Amanzeba Nat Brew dazzled the crowd with his incredible ‘lolo’ tunes and when the famous ‘kpanlogo’ track came, the house went ‘crazy.’ He left so soon; the crowd wanted more. The enigmatic AB Crentsil provoked a lot more controversy with his famous ‘Moses’ track. With his proverbial call for man power, the musician cum electrician dipped his proverbial stick into the red sea, pleading for a little space to maneuver. The track got patrons laughing in agreement; women had their fisted hands in the air, yearning for more power; more lyrics. Soon it was the turn of another Westerner; another controversial performer who took patrons along an interesting journey of finding out the hidden treasure in a woman’s ‘behind.’ Gyedu Blay Ambuley he is called started on a religious note with ‘Eja Nyami’ and soon he was in his elements. He got the audience responding to his ‘acheke’ and before patrons could know, they had found the ‘radum radum zo’ hiding in the woman’s behind.