According to a statement issued by the Senator’s camp, Ms. Izuegbu was arrested following investigations into claims that she facilitated an alleged illegal abortion involving Regina Daniels during her marriage to Senator Nwoko.

The statement maintained that the alleged act was unlawful and insisted that the incident is on record, despite what it described as attempts to dispute the timeline of events.

It further alleged that Ms. Izuegbu played a direct role in the incident, which it said forms part of ongoing law enforcement investigations. However, no official charge sheet has been made public as at the time of filing this report.

Beyond the abortion allegations, the Senator’s camp said the arrest is also connected to claims of criminal defamation.

Ms. Izuegbu is accused of making public statements alleging that Senator Nwoko physically assaulted his wife, Mrs. Laila Nwoko, resulting in a miscarriage. The Senator has described these allegations as false, reckless, and unsupported by evidence.

The statement added that the arrest followed a recent social media post by Ms. Izuegbu in which she allegedly issued threats and repeated what the Senator’s camp described as defamatory claims against him and members of his family.

Senator Nwoko’s camp stressed that the matter is strictly a law enforcement issue and not a social media dispute, urging the public to allow investigations to take their course and to refrain from speculation.

As at the time of publication, neither Ms. Izuegbu nor her legal representatives had issued a response to the allegations.

View this post on Instagram

A post shared by Senator Prince Ned Nwoko (@princenednwoko)

Speaking to Kwame Dadzie on Joy FM’s Showbiz A-Z, he cited the absence of a budgetary allocation as a reason for that.

According to Rex Omar, the secretariat could not be captured in the 2025 budget because it was established after the budget had already been read.

“Our office was set up after the budget had been read. We were not included in the 2025 budget. One thing you have to know is that the secretariat is not an agency on its own.

The secretariat is one of the offices within the presidency so we don’t have our own account,” he said on Joy FM’s Showbiz A-Z.

He further noted that as a result, many of their activities required clearance from the Presidency before they could be carried out.

“Because the secretariat do not have a budget, a lot of the things we couldn’t do a lot of the things we wanted to do,” he added.

Despite the challenges, Rex Owusu Marfo said steps had been taken to ensure the situation does not repeat itself.

“But the grace of God we presented and defended our budget for 2026,” he told host Kwame Dadzie.

In the meantime, he noted that the secretariat used 2025 to lay the foundation for the Blackstar Experience through extensive preparatory work.

According to him, the team travelled to several countries to sign memoranda of understanding for future projects, and also organised initiatives such as Creative Connect Afrika and Taste the Culture.

The Black Star Experience’ is the government’s flagship Culture, Arts, and Tourism brand to redefine and affirm the Ghanaian identity, attract investments, create new jobs, and increase tourism. It will undertake a year-round celebration in all the major entertainment, artistic, and educational disciplines.

The lawsuit, filed on 15 January, seeks ₵100 million in damages, an immediate removal of the video from all social media platforms, and a public retraction accompanied by an unconditional apology.

Court documents filed by Shatta Wale’s lawyers, Robert Smith Law and Group, reveal that the legal action follows the release of a video by Black Rasta, born Abubakar Ahmed, titled “SHATTA WALE, SELF CONFESSED KING OF FRAUD.” In the video, the award-winning musician, whose real name is Charles Nii Armah Mensah, is allegedly described as dishonest and involved in fraudulent activities.

Shatta Wale argues that the statements in the video are false, malicious, and defamatory, causing serious harm to his reputation. He is asking the court to declare the remarks defamatory and to order the defendant to permanently delete the video—uploaded on 15 December 2025—as well as any related content across all social media platforms.

The artiste is also seeking a perpetual injunction to prevent Black Rasta, his associates, or agents from making or publishing any further defamatory statements about him.

Additionally, Shatta Wale is demanding a public retraction and unconditional apology, to be posted on Black Rasta’s social media pages and published as full-page notices in the Daily Graphic, Ghanaian Times, and Graphic Showbiz newspapers.

According to the statement of claim, the comments in the video, whether directly or by implication, suggest to “right-thinking members of society” that Shatta Wale is dishonest, morally corrupt, and involved in internet fraud and other criminal activities—allegations he strongly denies.

He maintains that the video falsely presents him as a person of questionable character who deliberately misleads the public for personal gain, a portrayal he says is entirely untrue.

Shatta Wale also highlighted the wide reach of the video, noting that within 24 hours of being posted on Facebook, it had garnered over 150,000 views, more than 1,000 comments, and about 6,000 likes. On YouTube, the video reportedly recorded over 27,000 views, more than 40 comments, and upwards of 600 likes.

He insists that the scale of engagement significantly amplified the damage to his reputation, arguing that the repeated statements in the video were calculated to undermine and tarnish his public image.

Mr Akaie was known for his outstanding special effects makeup work on several major Nollywood movies.

His credits include “Mai Martaba”, “The Night of June 7th”, “Dark October”, “Ireke”, among others.

In a statement posted on his Instagram page on Friday, Abinibi disclosed that Akaie died after an explosion occurred during filming.

He described the deceased as a brilliant and deeply passionate special effects and pyrotechnics professional, whose creativity, dedication and love for his craft inspired everyone who had the privilege of working with him.

Recounting how the tragic incident occurred, Abinibi said: “It is with profound sorrow and heavy hearts that we confirm a tragic accident occurred on location in Abeokuta set of our film as filming was coming to a wrap, resulting in the death of our esteemed colleague and friend, James Akaie.

“During a filming session, a sudden and unexpected explosion occurred in a designated effects preparation area outside of the film set where James was experimenting on an unauthorised Pyrotechnic stimulation involving a gas cylinder alongside his two assistants.”

Other victims

He said Akaie died at the hospital where he was rushed after sustaining severe injuries.

Mr Abinibi added that two other aides suffered burns and were immediately taken to a specialist hospital, where they received prompt medical attention.

He confirmed that they were in stable condition and were continuing to receive treatment.

“The specific circumstances leading to the explosion are currently under a thorough investigation by the relevant authorities. We are cooperating fully with this investigation as we further conduct our own internal review. Out of respect for James’s family and the investigative process, we cannot provide further details at this time.

“James’s innovative spirit and commitment to artistic excellence were unmatched. He consistently sought to elevate every project with his talent, a testament to his deep passion for filmmaking. We will remember him not only for his exceptional skill but for the vibrant presence he brought to our set every day”, said Abinibi.

Mr Akaie was known for his outstanding special effects makeup work on several major Nollywood movies.

His credits include “Mai Martaba”, “The Night of June 7th”, “Dark October”, “Ireke”, among others.

In a statement posted on his Instagram page on Friday, Abinibi disclosed that Akaie died after an explosion occurred during filming.

He described the deceased as a brilliant and deeply passionate special effects and pyrotechnics professional, whose creativity, dedication and love for his craft inspired everyone who had the privilege of working with him.

Recounting how the tragic incident occurred, Abinibi said: “It is with profound sorrow and heavy hearts that we confirm a tragic accident occurred on location in Abeokuta set of our film as filming was coming to a wrap, resulting in the death of our esteemed colleague and friend, James Akaie.

“During a filming session, a sudden and unexpected explosion occurred in a designated effects preparation area outside of the film set where James was experimenting on an unauthorised Pyrotechnic stimulation involving a gas cylinder alongside his two assistants.”

Other victims

He said Akaie died at the hospital where he was rushed after sustaining severe injuries.

Mr Abinibi added that two other aides suffered burns and were immediately taken to a specialist hospital, where they received prompt medical attention.

He confirmed that they were in stable condition and were continuing to receive treatment.

“The specific circumstances leading to the explosion are currently under a thorough investigation by the relevant authorities. We are cooperating fully with this investigation as we further conduct our own internal review. Out of respect for James’s family and the investigative process, we cannot provide further details at this time.

“James’s innovative spirit and commitment to artistic excellence were unmatched. He consistently sought to elevate every project with his talent, a testament to his deep passion for filmmaking. We will remember him not only for his exceptional skill but for the vibrant presence he brought to our set every day”, said Abinibi.

All 5,272 seats at the historic London venue have been claimed, underscoring Sarkodie’s global appeal and the rising influence of Ghanaian music on the international stage.

This achievement marks a significant moment not only for the multiple award-winning rapper but also for Ghana’s creative arts industry, reinforcing the country’s growing presence in global music spaces.

Rapperholic, widely recognized as one of Africa’s biggest hip-hop concert brands, has steadily expanded beyond Ghana, attracting diverse audiences across borders and solidifying Sarkodie’s position as a leading voice in African music worldwide.

READ ALSO:

• 
  Kwakye Ofosu explains exclusion of Finance Minister, BoG Governor from Economic Advisory Group
• Sam George hails Deputy Minister as key partner in strengthening communications sector
• Shippers Authority CEO Prof Gyampo seeks Otumfuo’s support to fast-track Boankra project completion

In a ruling by Justice Afia Adu-Amankwa at the Commercial Division, the court dismissed the overwhelming majority of financial claims brought by Shadrach Owusu Agyei, operating as Charvis Wayne’s Consult.

The plaintiff had sought a series of orders, including a 20% share of all the artist’s earnings, payment of over GHs1.1 million in alleged investments, and $24,000 for accommodation.

However, the court found that the plaintiff failed to substantiate these core allegations. Justice Adu-Amankwa held that while a management agreement existed, claims of unaccounted earnings, retained revenue, and financial losses were not supported by evidence.

The court further noted that the plaintiff did not render full accounts as required and failed to demonstrate continued performance of his managerial duties after the agreement’s termination.

The sole finding against the artist, born Mohammed Ismail Sherif, was that his engagement with a third party during the active period of the management contract constituted a breach. Essentially, the court emphasised this was a limited infraction.

The Court held that Black Sherif’s engagement with a third party during the subsistence of the management agreement constituted a technical breach of contract, adding that no substantial loss was proven to have resulted from this action.

Consequently, the court awarded only nominal damages of GH₵50,000 for this technical breach, a fraction of the millions sought by the plaintiff. All other reliefs, including the claims for a share of earnings, reimbursement for investments, and accommodation costs, were dismissed entirely.

In a further sign of the court’s view on the case’s merits, costs of GH₵15,000 were awarded against the plaintiff, Charvis Wayne’s Consult, to cover reasonable expenses and legal representation incurred by Black Sherif.

The Shatta Movement boss made the disclosure during a TikTok live session on January 15, 2026, stating that he sold about 300 of his songs to an external entity as part of the deal.

According to Shatta Wale, the proceeds from the sale were invested in property acquisitions and various business ventures, including his online ride-hailing service, Shaxi.

He also used the platform to respond to remarks by a fellow artiste who had questioned whether any Ghanaian music catalogue could command such a valuation.

“I have over 11,000 songs online that my team is still trying to gather. I sold 300 of my songs for $3 million, used the money to buy houses and invest in businesses like Shaxi. Yet someone says no Ghanaian catalogue is worth that much,” Shatta Wale said.

The debate over the valuation and sale of Ghanaian music catalogues has been ongoing since 2025, following a public dispute between producer MOG Beatz and Shatta Wale over unpaid production work on two albums, a matter that has since been resolved.

READ ALSO:

• 10 Metro Mass buses to hit Accra roads soon – Kwakye Ofosu
• Potholes turn death trap on Asafo Market Junction-Tech Road
• OMCs commence fuel price reduction; GOIL sells petrol at GH¢9.99, Star Oil cuts to GH¢9.97

In a press release dated January 15, 2026, Esther Smith Music described the claims circulating on social media as false, misleading, and a gross distortion of facts.

The statement emphasized that Esther Smith and her team were treated with respect, dignity, and genuine pastoral care during their engagement with Pastor Elvis Agyemang and the Alpha Hour team.

“At no point was any amount requested, demanded, or charged for prayers,” the statement stressed, adding that adequate security and support were provided and all interactions were conducted with professionalism and integrity.

The management further highlighted that Pastor Elvis Agyemang has consistently demonstrated character, accountability, and transparency, describing him as a leader who can be trusted.

They therefore called on the general public, the Alpha Hour family, and fans of Esther Smith to disregard speculation, sensational headlines, and misrepresentations currently circulating online.

The statement also urged media practitioners and bloggers to verify facts and exercise responsibility to avoid publishing content that could mislead the public or damage reputations.

Speaking on Hitz FM’s Afternoon Ride with Andy Dosty, the veteran singer said she appreciates how music and artistry continue to evolve over time.

“I know that we are evolving, so definitely people will upgrade, which will be more than mine. If it is nice, it is nice. I admire it,” she said.

Mzbel, however, noted that while innovation is important, not every new approach produces positive results.

“Some too, when they do it, it doesn’t look nice,” she added.

According to her, growth in the industry is often influenced by lessons learnt from the mistakes of earlier artistes.

“People will always learn from their flaws and mistakes,” she said, referring to musicians who came after her era.

Reflecting on late dancehall artiste Ebony Reigns, Mzbel described her as a rare talent whose presence lit up the industry.

“When Ebony came, everything she did was enjoyable. Ebony was just everything,” she said.

Mzbel singled out Ebony’s confidence as one of her strongest qualities, admitting it was something she herself struggled with earlier in her career.

“She was very confident. That’s one thing back then I didn’t have, because anytime they said something, I began to fear. It’s because of the way I was brought up,” she revealed.

She contrasted her own upbringing with Ebony’s boldness, which she described as refreshing and beautiful.

“For her, she was just bold, and it was beautiful,” Mzbel added.

The singer also expressed sadness over Ebony’s untimely death, saying the music industry lost a shining star too soon.

“It is just sad she had to go so quickly,” she said.

Speaking on Hitz FM’s Afternoon Ride with Andy Dosty, the outspoken artiste said she has reached a stage in life where she knows exactly what she wants — and marriage isn’t part of it.

“I’m grown. I don’t need a boyfriend. There is a man in my life, but I’m not married. I don’t like marriage,” she said bluntly.

Mzbel explained that, in her view, marriage often complicates relationships rather than enhancing them.

“Marriage spoils everything,” she added.

She went on to say that marriage brings major changes, particularly with living arrangements and personal freedom.

“Once you are married, you have to live together and everything changes. You can’t do the things you used to do,” she explained.

Mzbel also pointed out that constant physical proximity can make relationships monotonous.

“You have to see yourself every day. It becomes boring,” she remarked.

Beyond boredom, she cited the weight of responsibilities that accompany marriage as another reason for her stance.

“Marriage comes with too many responsibilities. I like to be free,” she stressed.

The singer further noted that she already enjoys the benefits typically associated with marriage — companionship, support, and emotional fulfilment — without the pressures and challenges.

“I get everything married people experience without the problems,” she concluded.

Originally scheduled for Saturday, January 17, at the Bokum Boxing Arena, the finale will no longer take place on that date.

According to the station’s management, the decision follows consultations with key stakeholders and is intended to ensure the event is executed in the best possible way.

A new date for the grand finale will be announced by Adom TV in due course.

Speaking on Hitz FM’s Afternoon Ride with Andy Dosty, the musician described her current path as one she now fully understands and accepts.

“This is my path—a path that I’m supposed to follow, now that I have come to the realisation,” she said.

Mzbel explained that the turning point came after she stopped going to church and began exploring deeper questions about life and purpose.

“It started when I left church and began doing research about life, about this world, and what we are supposed to do,” she said.

Her church background was rooted in the Church of Pentecost, where she was an active member. But tensions began to emerge as her natural talents started to shine at the Jamestown Assembly.

The musician revealed she had a gift for choreographing dance to gospel music, a skill she used to teach children. What began as a way to nurture young talent and worship creatively eventually became a source of conflict.

“They said what I was doing was not right and that it was going to ‘mess up’ the Sunday school kids,” she recounted.

Despite her intentions to inspire and guide children through music and dance, church leadership reportedly disapproved of the “foreign gospel music” and expressive dance styles she introduced. Feeling discouraged and misunderstood, Mzbel decided to step away.

“Something happened in the church that I was uncomfortable with, and I quit,” she said.

She added that after her departure, some elders from the church reached out, seeking to understand why she had stopped attending, but by then her spiritual path had already shifted.

One of the biggest surprises during the 2025 December in GH festivities was the appearance of Ebo Noah at Sarkodie’s flagship concert. Noah had earlier prophesied that a flood would occur on the same day and had announced plans to provide arks ahead of the supposed disaster.

Following Ebo Noah’s appearance on the Rapperholic stage on December 25, 2025, many questioned why Sarkodie would give the controversial figure space on such an esteemed platform to continue what critics described as stunts.

However, speaking to Kwame Dadzie on Joy FM’s Showbiz A-Z, Sarkodie’s official DJ, DJ Mensah, clarified that the rapper had no prior knowledge of Ebo Noah’s presence at the event.

“Sarkodie was not even aware he was coming,” he told host Kwame Dadzie.

“Sometimes we have to surprise Sarkodie, it’s the event organizers,” he added.

Meanwhile, Ebo Noah has since been arrested, prompting Sarkodie to comment publicly on the development. The rapper questioned the basis for the arrest, stating that Ebo Noah was merely engaging in content creation rather than committing a crime through his prophecy.

Sarkodie shared a video of Ebo Noah in handcuffs being escorted into a police vehicle on Instagram on January 2, 2026.

He added the caption “Don’t know exactly what my boy’s crime is, but from day one I knew he was making content, unless he’s been charged with something else.”

Ebo Noah went viral in the latter part of 2025 after predicting a three-year flood which he claimed would destroy the world, beginning on December 25, 2025. 

He shared several videos on social media showing himself constructing wooden arks in parts of the country

The concerns followed events such as Taste the Culture, a government programme supported by the GTA, which featured two Nigerian headliners, and Ghana in Praise, championed by the GTA in partnership with private event company Genet Services, which also had three Nigerian musicians on the bill.

Although Abeiku Aggrey maintained that there is nothing wrong with engaging foreign artistes, he admitted on Showbiz A to Z on Joy FM, hosted by Kwame Dadzie, that the authority had taken the feedback in good faith.

“We have listened. If we did three (foreign artistes), maybe next time we do one, and 20 Ghanaians,” he said.

He, however, noted that such decisions are sometimes necessary to promote Ghana as a premier cultural and economic Pan-African destination and to boost tourism.

Speaking on the programme, which aired on January 10, 2026, Aggrey said: “I’m not saying that we shouldn’t give preferential treatment to our locals, but what is wrong with it if our African neighbours come to our country? What is wrong with that? If there’s nothing wrong with that, then why are we crying about it?”

He added: “If not for the European invasion and partition of Africa, we’d be one people. But we’re no longer one people. In the wisdom of Nkrumah and the founding fathers of the AU in 1963, the vision was to have a united Africa. Ghana has always been home for Africans. When we say that we are Ghana, we are the gateway to Africa, and we are the trailblazers of Pan-Africanism and all that, it is not just a mere wishful saying. How are we to achieve this position if we don’t allow other Africans to come to the country?”

The issue of foreign dominance in Ghana’s creative space has long been a concern within the industry.

In music and other creative sectors, pressure groups and industry stakeholders have consistently called for stronger local representation at major events.

While proponents of campaigns for more local content agree that there is value in hosting foreign creatives, they argue that during Detty December and similar occasions, foreign influence should be limited as a way of promoting Ghana’s creative economy.

The actor, who gained recognition for his role in the film Fuck Boys, reportedly passed away overseas. Details surrounding his death have not yet been disclosed.

The news was confirmed by film producer Dela Finn, who described Mandela Jnr’s passing as deeply shocking. According to the producer, the late actor was vibrant, full of life, and had expressed a strong desire to return to Ghana to continue work on several film projects.

Nelson Mandela Jnr began his acting career in 2015 and steadily built a reputation as a promising talent. Over the years, he featured in a number of films, including Give It a Title, Scared, I Believe, and Behind the Scenes.

His death comes just days after he shared a series of motivational posts on social media, which have since drawn emotional reactions from fans and colleagues. In a post dated January 5, he wrote, “I will face the microphone a lot this year. I have a lot to say!” In another, he encouraged consistency, stating, “Be consistent with what you do positively and the result will never let you down.”

Tributes have begun pouring in from industry players and fans, who remember him as a passionate actor with a bright future.

Ariana Grande has been nominated for the past two years – for Wicked and now its sequel, Wicked: For Good.

A previous nominee in the film categories, Glen Powell, was shortlisted this year for his role in the TV comedy series Chad Powers.

Jenna Ortega was recognised for her role in the Addams Family spin-off, Wednesday.

Only Murders in the Building star Selena Gomez walked the red carpet with music producer Benny Blanco, whom she married in September.

Blackpink singer Lisa, who made her acting debut in The White Lotus, was among the celebrities at the event.

The Last of Us star Bella Ramsey wore a suit tied with a bow.

The Bear’s Ayo Edebiri had her third nomination in four years for best actress in a TV comedy.

Julia Roberts had the 11th Golden Globe nomination of her career for After the Hunt.

Jennifer Lawrence was nominated for her role in Die My Love, in which she stars opposite Robert Pattinson.

The Smashing Machine star Dwayne Johnson walked the red carpet with his wife Lauren Hashian.

Jessie Buckley is the frontrunner to win best actress in a film drama for Hamnet.

Elle Fanning was nominated for Best Supporting Actress in a Film for her role in Sentimental Value.

Colman Domingo’s tuxedo was scattered with silver jewelled leaves.

Minnie Driver can currently be seen in TV hits Emily In Paris and Run Away.

Tessa Thompson was nominated for best actress in a drama film for her performance in Hedda, a new take on Henrik Ibsen’s play Hedda Gabler.

British actress Aimee Lou Wood was nominated for her role in wealth satire The White Lotus.

Teyana Taylor was one of five actors from One Battle After Another to be nominated at the Globes, and she won best supporting actress.

Adam Scott was nominated for his role in Apple TV drama Severance.

Rose Byrne won best actress in a film musical or comedy for her role in If I Had Legs I’d Kick You.

Zoey Deutch stars in Nouvelle Vague, which was nominated for best musical or comedy film.

The White Lotus and Fallout actor Walton Goggins sported a gold shirt, alongside wife Nadia Conners.

Amanda Seyfried was nominated for her role in Shakers musical The Testament of Ann Lee.

Owen Cooper has swept the board at a range of award ceremonies for his role in Netflix’s hard-hitting drama Adolescence.

He was joined at Sunday’s event by co-stars including Erin Doherty, who won best TV supporting actress.

Song Sung Blue Kate Hudson was nominated for best musical or comedy actress – 25 years after she won a Golden Globe for Almost Famous.

Paul Mescal was nominated for playing William Shakespeare in Hamnet, which featured prominently in the film categories.

British actor Joe Alwyn also appears in Hamnet.

Chase Infiniti was nominated for best actress in a musical or comedy for One Battle After Another.

Emily Blunt and husband John Krasinski posed for photographers.

Fellow Brit Damson Idris starred in F1 The Movie opposite Brad Pitt.

Timothée Chalamet won best actor in a musical or comedy for his performance in Marty Supreme.

He faced competition stars including Leonardo DiCaprio, who was nominated for One Battle After Another.

Robin Wright was nominated for best actress in a limited series for The Girlfriend.

Husband and wife Nick Jonas and Priyanka Chopra were among the stars on the red carpet.

Jacob Elordi was a double nominee – for best supporting actor in a film for Frankenstein, and for best actor in a limited TV series for The Narrow Road to the Deep North.

British actress Wunmi Mosaku, who starred in Sinners, also showed off her baby bump.

Mosaku’s Sinners co-star Hailee Steinfeld also brought a plus one as she walked the red carpet.

Miles Caton also starred in Sinners, playing young singer Sammie.

Jennifer Lopez wore a sheer dress with a floral pattern.

Hudson Williams, one of the stars of recent TV hit Heated Rivalry, presented an award during the ceremony.

Duke McCloud plays the young son of Sarah Snook’s character Marissa in hit TV thriller All Her Fault.

Mark Ruffalo, who was nominated for best actor in a TV drama for Task, with his wife Sunrise Coigney.

Actress Alicia Silverstone appeared in Bugonia, which had three nominations.

Rapper Snoop Dogg matched the red carpet by adding a streak of colour to his tuxedo.

Sheryl Lee Ralph stars in best comedy series nominee Abbott Elementary.

The Ojuelegba crooner achieved the feat as his streams across all credits on the platform recently hit the 10 billion-stream mark.

His collaborative hit with Canadian superstar Drake and British singer Tyla is his most-streamed song on the platform, with almost 4 billion streams.

His third studio album, ‘Made In Lagos Deluxe’, is his most-streamed project on Spotify with over a billion streams.

Wizkid’s most-streamed song as lead is ‘Essence’ featuring Tems, which has amassed over 333 million streams.

Meanwhile, American singer Billie Eilish’s ‘Birds Of A Feather’ has surpassed Tones and I’s ‘Dance Monkey’ as the most-streamed solo song by a female artist in Spotify history.

‘Birds Of A Feather’ recently hit  3.37 billion to surpass ‘Dance Monkey’, which has 3.3 billion streams.

Rema picked three awards on the night. He won Artiste of the Year, Best Male Artiste in Western Africa, and Best African Artiste in RnB and Soul.

Burna Boy won Album of the Year for No Sign of Weakness. Yemi Alade won Best Soundtrack in a Movie, Series or Documentary for her song You Are from the animated series Iyanu.

Shallipopi won Song of the Year with Laho and also picked Best African Collaboration alongside Burna Boy.

Phyno won Best African Artiste in African Hip-Hop, while fast-rising singer Chella emerged African Fans’ Favourite.

Qing Madi won Most Promising Artiste of the Year, beating other nominees including Cysoul, Joshua Baraka, King Luca, L’Oiseau Rare, Lwah Ndlunkulu, Massamba Amadeus, Rym, Kunmie and Fola

Below is the full list of winners.

Best Male Artist in Central Africa

• C4 Pedro (Angola)
• Eboloko (Gabon)
• Gims (DRC)
• Gerilson Insrael (Angola)
• Kocee (Cameroon)
• L’Oiseau Rare (Gabon)
• Fally Ipupa (DRC)
• Magasco (Cameroon)
• Singuila (The Congo) – Winner
• Werrason (DRC)

Best Female Artiste in Central Africa
• Anna Joyce (Angola)
• Blanche Bailly (Cameroon)
• Charlotte Dipanda (Cameroon)
• Cindy Le Coeur (DRC) – Winner
• Deborah Lukalu (DRC)
• Emma’a (Gabon)
• Jessy B (The Congo)
• Krys M (Cameroon)
• Liriany (Angola)
• Rebo (DRC)

Best Male Artiste in Eastern Africa
• Bien (Kenya)
• Diamond Platnumz (Tanzania)
• Element Eleéh (Rwanda)
• Joshua Baraka (Uganda)
• Jux (Tanzania) – Winner
• Marioo (Tanzania)
• Mbosso (Tanzania)
• Bruce Melodie (Rwanda)
• Sat-B (Burundi)
• Yared Negu (Ethiopia)

Best Female Artiste in Eastern Africa
• Abigail Chams (Tanzania)
• Bridget Blue (Kenya)
• Denise (Madagascar) – winner
• Haleluya Tekletsadik (Ethiopia)
• Lady Jaydee (Tanzania)
• Mahlet Wendimu (Ethiopia)
• Salemia (Ethiopia)
• Weeha (Ethiopia)
• Winnie Nwagi (Uganda)
• Zuchu (Tanzania)

Best Male Artiste in Northern Africa
• A.L.A. (Tunisia)
• Adviser (Mauritania)
• Amr Diab (Egypt)
• Cheb Momo (Algeria)
• El Grande Toto (Morocco)
• Hamza Namira (Egypt)
• Lbenj (Morocco)
• Mohamed Ramadan (Egypt)
• Stormy (Morocco)
• Wegz (Egypt)

Best Female Artiste in Northern Africa
• Chirine Lajmi (Tunisia)
• Inez (Morocco)
• Jannat (Egypt)
• Jaylann (Morocco)
• Manal (Morocco)
• Meryem Aboulouafa (Morocco)
• Sherine (Egypt) – Winner
• Zina Daoudia (Morocco)

Best Male Artiste in Southern Africa
• Anderson Mário (Mozambique)
• Jah Prayzah (Zimbabwe)
• Manana (Eswatini)
• Nasty C (South Africa)
• Teddy Makadi (Malawi)
• Tyler ICU (South Africa)
• Wanitwamos (South Africa)
• Yo Maps (Zambia) – Winner
• Zeze Kingston (Malawi)
• Kazba De Small (South Africa)

Best Female Artiste in Southern Africa
• Babalwa M (South Africa)
• Hanna (Zimbabwe)
• Makhadzi (South Africa)
• Nkosazana Daughter (South Africa)
• Nontokozo Mkhize (South Africa) – Winner
• Sha Sha (Zimbabwe)
• Temwah (Malawi)
• Tyla (South Africa)
• Uncle Waffles (Eswatini)
• Zee Nxumalo (South Africa)

Best Male Artiste in Western Africa
• Asake (Nigeria)
• Axel Merryl (Benin)
• Black Sherif (Ghana)
• Burna Boy (Nigeria)
• Davido (Nigeria)
• Didi B (Côte d’Ivoire)
• Djodje (Cape Verde)
• Rema (Nigeria) – Winner
• VJ (Senegal)
• Wizkid (Nigeria)

Best Female Artiste in Western Africa
• Amaarae (Ghana)
• Ayra Starr (Nigeria)
• Djelykaba Bintou (Guinea)
• Josey (Côte d’Ivoire)
• Mariam Ba Lagaré (Mali)
• Mia Guissé (Senegal)
• Moliy (Ghana)
• Tiwa Savage (Nigeria)
• Viviane Chidid (Senegal)
• Wendy Shay (Ghana) – Winner

CONTINENTAL CATEGORY

Best Male Artiste in African Inspirational Music
• Christian Mukuna (DRC)
• Djunny Beatz (Mozambique)
• Gaise Baba (Nigeria)
• Israel Mbonyi (Rwanda)
• Jah Prayzah (Zimbabwe)
• Joel Lwaga (Tanzania)
• Kocee (Cameroon)
• Lawrence Oyor (Nigeria)
• Milo (Côte d’Ivoire) – Winner
• Sjava (South Africa)

Best Female Artiste in African Inspirational Music
• Ada Ehi (Nigeria)
• Choisie Basolua (DRC)
• Krys M (Cameroon)
• Martha Mwaipaja (Tanzania)
• Mercy Chinwo (Nigeria)
• Morijah (Côte d’Ivoire) – Winner
• Nontokozo Mkhize (South Africa)
• Roseline Layo (Côte d’Ivoire)
• Vestine & Dorcas (Rwanda)

Best African Artiste, Duo or Group in African Jazz
• Adrian Younge & Ali Shaheed Muhammad (Ghana)
• Haddinqo (Ethiopia) – Winner
• Mádé Kuti (Nigeria)
• Rorisang Sechele (South Africa)
• Sibusiso Mash Mashiloane (South Africa)
• The Cavemen (Nigeria)
• Alune Wade (Senegal)
• Nomfundo Xaluva (South Africa)
• Kyle Shepherd Trio (South Africa)

Best Artiste, Duo or Group in African Contemporary
• Fireboy DML (Nigeria)
• Axel Merryl (Benin) – Winner
• Espe Bass (Congo B)
• Bien (Kenya)
• Jaylann (Morocco)
• Kizz Daniel, Angélique Kidjo & Johnny Drille (Nigeria)
• Mbosso (Tanzania)
• Ferre Gola & Rayvanny (DRC)
• Didine Canon 16 (Algeria)
• Wendy Shay (Ghana)

Best Soundtrack in Movie, Series, or Documentary
• Igho’le Trap Mix Version (“To Kill a Monkey”: Series) – Oscar Heman-Ackah (Ghana)
• El Ma2as (“The Start”: Film) – Tamer Hosny, Reda Elbahrawy (Egypt)
• You Are (“Iyanu”: The Animated Series) – Yemi Alade (Nigeria) – Winner
• Timpi Tampa (“Timpi Tampa”: The Film) – Ismaël Lo (Senegal)
• Tori Ife (“Seven Doors”: Series) – Tolu Obanro (Nigeria)
• Saatte Ragouj (“The Last of the Mohicans” Film) – Kafon (Tunisia)

Songwriter of the Year
• Bakhaw Dioum – “Choix” (Mia Guissé ft. Wally B. Seck) (Senegal) – Winner
• Emel, Jehanny Beth & Camille Berthomier – “Fall in the Light” (Tunisia)
• Emma’a – “Trop d’amour” (Gabon)
• Emmanuel Ayobami Alli-Hakeem – “Za” (Anendlessocean) (Nigeria)
• Ferre Gola – “Amour Illusoire” (DRC)
• Mohammed Ismail Sharrif – “Rebel Music” (Black Sherif) (Ghana)
• Mugisha Fred Robinson – “Tombé” (Element Eleéh) (Rwanda)
• Olamide Adedeji – “Hassibunallah” (Olamide) (Nigeria)
• Prince Omoferi & Nwamu Francis Chukwudubem – “It Hurts” (Johnny Drille & Don Jazzy) (Nigeria)
• Victor Ngatuvese Kaune – “Oputuri ‘Queens’” (One Blood Namibia) (Namibia)

African Fans’ Favourite
• Ali Jita (Nigeria)
• Barnaba (Tanzania)
• BNXN & Rema (Nigeria)
• Chella (Nigeria) – Winner
• Dlala Thukzin (South Africa)
• Innoss’b (DRC)
• Kizz Daniel (Nigeria)
• Parazar (Algeria)
• Faceless (Nigeria)
• Tul8te (Egypt)

Best African DJ
• DJ Malvado (Angola)
• DJ Maphorisa (South Africa)
• DJ Moh Green (Algeria) – Winner
• DJ Mombochi (The Congo)
• DJ Tunez (Nigeria)
• DJ YK Mule (Nigeria)
• Kelvin Momo (South Africa)
• Oscar Mbo (South Africa)
• Uncle Waffles (Eswatini)
• Woodblock Djs (South Africa)

Producer of the Year
• Beneth Seraphin Akatché Koffi (Senegal)
• Butternut, Xolani Majoz (South Africa)
• Dina One (Mali)
• Element Eleéh & Mugisha Fred Robinson (Rwanda) – Winners
• Jazzworx (South Africa)
• Progrex (Nigeria)
• DaVinci (Angola)
• Tempoe (Nigeria)
• Themba Sekowe, Gomolemo Joy Gumede, Kabelo Motha (South Africa)

Album of the Year
• Ebtadena – Amr Diab (Egypt)
• No Sign of Weakness – Burna Boy (Nigeria) – Winner
• 5ive – Davido (Nigeria)
• Diyilem & Bazarhoff: Genius – Didi B (Côte d’Ivoire)
• Ngomoya – DJ Maphorisa & XDuppy (South Africa)
• Salgoat – El Grande Toto (Morocco)
• Big Aka 4 Aka Kai – Himra (Côte d’Ivoire)
• Thato Ya Modimo – Kelvin Momo (South Africa)
• Idrache (Traces of the Past) – Tinariwen (Mali)

Best African Video of the Year
• “Rebel” – Black Sherif (Ghana)
• “Meta” – Nomcebo Zikode & Sofiya Nzau (South Africa)
• “Ki Lo Wa Wa” – Yemi Alade (Nigeria)
• “Timpi Tampa” – Ismaël Lo (Senegal)
• “Tori Ife” – Tolu Obanro (Nigeria)
• “Ova” – Mbosso (Tanzania) – Winner
• “Ololufe” – Juma Jux & Diamond Platnumz (Tanzania)
• “Shaolin” – Seyi Vibez (Nigeria)
• “Stk Stk” – Dizzy Dros, Kekra & Norfafrica (Morocco)

Song of the Year
• “Isaka (6AM)” – Ciza, Jazzworx & Thukuthela (South Africa)
• “Bengicela” – Mawhoo Gl Ceejay & Thukuthela (South Africa)
• “Choix” – Mia Guissé (Senegal)
• “Diplomatico” – El Grande Toto (Morocco)
• “Kaay Waay” – VJ (Senegal)
• “Laho” – Shallipopi (Nigeria) – Winner
• “Ololufe Mi” – Jux & Diamond Platnumz (Tanzania)
• “Push 2 Start” – Tyla (South Africa)
• “Shake it to the Max” – Moliy, Shenseea, Skillibeng & Silent Addy (Ghana)
• “With You” – Davido (Nigeria)

Best African Dance/Choreography
• Jaylann – “Ha Wlidi” (Morocco)
• Lady Ponce – “Je veux danser” (Cameroon)
• Rebo – “Mobambo” (DRC)
• Serge Beynaud – “Taper Dedans” (Côte d’Ivoire)
• Toofan – “Deodorant” (Togo)
• Tyla – “Push 2 Start” (South Africa)
• Uncle Waffles & Royal Musiq – “Zenzele” (Eswatini)
• Weeha – “Dimama” (Ethiopia) – Winner
• Werrason – “Tout se paie ici bas” (DRC)
• Wizkid – “Kese” (Nigeria)

Best African Act Reggae, Ragga & Dancehall
• Magasco – “Dirty Whine” (Cameroon)
• Moliy, Shenseea, Skillibeng & Silent Addy – “Shake it to the Max” (Ghana)
• Ruger & Kranium – “Dudu” (Nigeria)
• Sean Morgan – “Vuu” (Malawi)
• Black Sherif – “Rebel Music” (Ghana)
• Takana Zion – “On My Eyes” (Guinea) – Winner
• Tiwa Savage – “Forgiveness” (Nigeria)
• Wakadinli – “Kum Baba” (Kenya)
• Yemi Alade – “Baddie” (Nigeria)
• Iyani, Mwanaa & Cedo – “Kifo cha Mende” (Kenya)

Best African Collaboration
• Blanche Bailly & Lady Ponce – “Lève toi” (Cameroon)
• Goon Flavour, Master Kg & Eemoh – “Ngishutheni” (South Africa)
• Mia Guissé ft. Wally Seck – “Choix” (Senegal)
• Moliy, Silent Addy, Skillibeng & Shenseea – “Shake It to the Max” (Ghana)
• Paki Chenzu ft. Himra – “Assaut” (Togo/Côte d’Ivoire)
• Shallipopi ft. Burna Boy – “Laho” (Nigeria) – Winner
• Uncle Waffles ft. Cowboii, Royal Musiq, Uncool MC & Xduppy – “Zenzele” (Eswatini)
• Davido ft. Omah Lay – “With You” (Nigeria)
• Mawhoo, GL Ceejay & Thukuthela ft. Jazzworx – “Bengicela” (South Africa)
• Benny Adam & Khadija El Warzazia – “Mok Ya Mok” (Morocco)

Most Promising Artiste of the Year
• Cysoul (Cameroon)
• Joshua Baraka (Uganda)
• King Luca (Cameroon)
• L’Oiseau Rare (Gabon)
• Lwah Ndlunkulu (South Africa)
• Massamba Amadeus (Senegal)
• Qing Madi, Valorant (Nigeria) – Winner
• Rym (Morocco)
• Kunmie (Nigeria)
• Fola (Nigeria)

Artiste of the Year
• Amr Diab (Egypt)
• Ayra Starr (Nigeria)
• Burna Boy (Nigeria)
• Davido (Nigeria)
• DJ Maphorisa (South Africa)
• El Grande Toto (Morocco)
• Fally Ipupa (DRC)
• Jux (Tanzania)
• Rema (Nigeria) – Winner
• Shallipopi (Nigeria)
• Tyla (South Africa)

Breakout Artiste of the Year
• Blaq Major (South Africa)
• Ciza (South Africa) – Winner
• Eboloko (Gabon)
• Himra (Côte d’Ivoire)
• Marioo (Tanzania)
• Mawhoo (South Africa)
• Moliy (Ghana)
• Shallipopi (Nigeria)
• Trap King (Algeria)
• VJ (Senegal)

Best African Lyricist Rapper
• ALA (Tunisia)
• Didi B (Côte d’Ivoire) – Winner
• Jessy B (Congo B)
• Klassafan le Melangeur (Guinea)
• Nasty C & Usimamane (South Africa)
• Nyashinski (Kenya)
• Reminisce (Nigeria)
• Sarkodie (Ghana)
• Switch (Libya)
• Yacou B OG (Mali)

Best African Artiste, Duo or Group in African Hiphop
• ALA ft. Mootjeyek (Tunisia)
• Cassper Nyovest (South Africa)
• Eboloko (Gabon)
• El Grande Toto (Morocco)
• Himra (Côte d’Ivoire)
• Phyno (Nigeria) – Winner
• Nasty C & Usimamane (South Africa)
• Odumodublvck (Nigeria)
• Sarkodie (Ghana)
• Suspect 95 (Côte d’Ivoire)

Best African Artiste, Duo or Group in African RnB & Soul
• Bensoul & V- Be (Kenya)
• Big Zulu ft. Malungelo (South Africa)
• Braye (Nigeria)
• Calema (Sao Tome)
• Emma’a (Gabon)
• Kunmie (Nigeria)
• Manal (Morocco)
• Naledi Aphiwe & Mawelele (South Africa)
• Rema (Nigeria) – Winner
• Wegz ft. Tayc (Egypt)

Best African Duo, Group or Band
• Babylone (Algeria)
• Blaq Diamond (South Africa)
• Celema (Sao Tome & Principe)
• Team Paiya (Côte d’Ivoire) – Winner
• The Cavemen (Nigeria)
• Tinariwen (Mali)
• Toofan (Togo)
• Vestine & Dorcas (Rwanda)
• Wapendwa Muziki (Kenya)
• We Are Nubia (Kenya)

Yomi, who was left unconscious after a sudden severe headache, is currently receiving urgent medical attention in Marrakech.

The development was made public in a now viral post shared on his Instagram page on Tuesday evening.

However, updating the public about the state of his health, he appreciates the emergency team in Marrakech for their swift response.

Sharing a video of him on a hospital bed, he wrote “Today reminded me how fragile our breath is and how quickly everything can change.”

“Life truly lives in seconds. A sudden headache nearly took me out, but by God mercy & the swift help of the emergency team in Marrakech, I’m here resting and recovering.

“I give thanks to God for preservation, and for everyone He used to reach out, pray, and check on me. May we never take health, time, or one another for granted. Every moment is grace”, he stated.

ALSO READ:

• I’m not afraid to die – T.D. Jakes breaks silence after health scare during…

• Assaulting health workers cannot replace justice – Prof Beyuo warns

Speaking on Luv FM in an interview with Melvin on the station’s flagship show DriveTimeOnLuv, the ‘Odobra’ hitmaker questioned the sound of Ghanaian music and the culture and pride driving the industry’s decisions.

“Ghana music is supposed to be booming more than this, but something is wrong,” he said.

“Everybody is on their own. I don’t even feel an industry vibe.”

Kofi Mole argued that Ghana’s biggest mistake was abandoning Azonto too quickly, insisting the genre was the country’s strongest chance at establishing a globally recognised sound.

“Azonto could have been our global sound,” he stated. “That was our identity and we put it in the trash.”

His comments have reignited debate about why Ghana, despite its influence, has failed to secure a defining global sound like Nigeria’s Afrobeats, South Africa’s Amapiano, or Jamaica’s reggae.

“Nigeria is known for Afrobeats. South Africa owns Amapiano. Jamaica owns reggae,” he noted. “But Ghana? We don’t have that one sound the world knows us for.”

The rapper’s remarks were widely interpreted as a swipe at industry gatekeepers, whom he accused of allowing pride, impatience, and trend-chasing to override cultural preservation.

“We move on too fast,” he said. “Before a sound can grow, people say it’s old and force artists to chase the next thing.”

He added that the lack of unity within the industry has left artists disconnected, weakening Ghana’s ability to compete globally.

“You wake up, make your music, connect with your friends but you don’t feel an industry.”

Kofi Mole also blamed fans and online culture for discouraging originality, saying constant ridicule pushes artists away from authentic Ghanaian sounds.

“You can work all day in the studio, then someone wakes up online to trash your work,” he said. “That alone can make artists abandon the sound.”

Recounting backlash he faced after releasing an Azonto-inspired track in 2025, the rapper questioned how a once-celebrated sound has become a source of mockery.

“Someone said I should stop doing Azonto music,” he recalled. “I asked: Why is Azonto suddenly ‘Indian music’? That’s our identity.”

While reactions remain divided, Kofi Mole insists his comments stem from concern, not bitterness.

“We are doing well, but we are supposed to be doing way better,” he said. “Ghana is the gateway to Africa — our music should reflect that power.”

At the 9th All Africa Music Awards (AFRIMA), held at the Eko Hotel in Lagos, Nigeria, Wendy Shay emerged victorious, clinching the Best Female Artiste in Western Africa award with her hit song Too Late.

She represented Ghana in a highly competitive category that featured top artistes including Amaarae and Moliy (Ghana), Ayra Starr and Tiwa Savage (Nigeria), Josey (Côte d’Ivoire), Djelykaba Bintou (Guinea), Mariam Ba Lagaré (Mali), Mia Guissé (Senegal), and Viviane Chidid (Senegal).

In her acceptance speech, an emotional Wendy Shay expressed gratitude to her fans, partners and record label for their unwavering support throughout her journey.

She also thanked AFRIMA for the recognition, noting that breaking through as a female artiste in a male-dominated industry comes with significant challenges.

“This means everything to me,” she said, dedicating the award to women pushing through barriers in the music space and encouraging upcoming artistes to stay resilient.

The win was made even more special as the awards marked Wendy Shay’s first-ever visit to Nigeria.

Even before the announcement, the Ghanaian star had already captured attention on the red carpet, proudly showcasing her roots in a striking Kente gown that blended tradition with star power.

She later delivered a captivating performance of Too Late alongside her mentee, Tracy Shay, whose viral dance moves have helped boost the song’s popularity.

Listen to Wendy Shay’s acceptance speech below:

Ahead of the white wedding, family and close friends gathered on Friday, December 19, at the Ashongman Estates residence of Mr Anthony Obeng Afrane, the twins’ father, in Accra, to witness the traditional marriage ceremony of the twins and their spouses.

At the traditional wedding, only family members and a handful of close friends could easily tell the twins apart.

For everyone else, the colours of their kente gowns became the guide — Panin in green and Kakra in pink, with their spouses wearing matching colours.

For many guests, it was their first time witnessing a twin wedding and they could not resist capturing memorable moments from both the traditional and white ceremonies.

When this reporter interviewed the twin sisters at the Graphic Head Office in Accra last Tuesday, the first question was whether, while growing up, they had always planned to marry on the same day.

The sisters said that while they had always imagined marrying on the same day — inspired partly by their uncles, who are also twins and married on the same day about four decades ago — there was a period when they preferred separate weddings so each could enjoy her own special moment.

“I don’t know whether it’s because of our uncles, but we always thought of having our wedding together. Later, we wanted separate events. We thought, okay, when Panin is getting married, I’ll be her chief bridesmaid and when I’m getting married, she’ll be mine. At that time, we didn’t really want a joint wedding at all. Aside from that, we also wanted to have our own special days,” Kakra explained.

However, when their proposed wedding dates, in September and December, turned out to be close, their parents suggested a joint ceremony.

When the sisters agreed to have a joint wedding, they said the next step was to get their partners to buy into the idea.

While Panin’s fiancé accepted the idea quickly, it took some convincing to bring Kakra’s fiancé on board.

The next phase was the planning, which required all four of them to decide on the colours, décor, foods and other details together. The sisters admitted that planning was more hectic than they assumed.

“We had to go back and forth trying to settle on the colours. Colour was a big issue because we didn’t want too many colours. We were wondering how they would blend, especially pink and green, but later realised it wasn’t too much for us and it even looked more beautiful than we anticipated.

“We came up with an Excel sheet that we shared so the men could make inputs and edits wherever they wanted, especially with the finances. That way, we knew how much was going to food and how much to the venue, and they were really supportive throughout. They were even communicating about what attire they were going to wear and all of that.”

Living life separately
Three weeks after their wedding, the twins are adjusting to their “single” lives. 

“I thought it was going to be easier at first, but I realised that the first night I spent with my husband, I was really sad. He kept asking me what was wrong; he thought I didn’t like the place or that something was wrong. I had to explain to him that I had just realised I wasn’t with Kakra. We had always slept on the same bed and suddenly I wasn’t — it hit me,” Panin said on adjusting to their separate lives.

Before the wedding, Kakra had thought about the challenges of living apart from her twin. She reassured herself, however, knowing that they still worked together and would see each other every day at the office.

“We were typical, typical twins,” they said with laughter. “Our mum always dressed us the same. So dressing alike has been our life since we were born.” 

Their mother herself is a twin and their grandmother gave birth to two sets of twins (their mum and her late sister and their uncles who had a joint wedding years ago). 

The sisters attended the same schools throughout their lives, only separated briefly in primary school so teachers could tell them apart. From the Archbishop Porter Girls’ SHS in Takoradi, Western Region, to the Central University, then the University of Ghana, they studied together. Today, they work at the same institution — in different units — and are currently in law school together.

Even their names cause confusion. Both sisters share the same name, Ivy Yeboah Afrane, distinguished only by “Panin” (elder) and “Kakra” (younger).

Even for their partners, it took a while to tell them apart.

“In the beginning, before we started dating, he couldn’t tell us apart easily. It was really difficult — he would sometimes call me ‘Panin’ and then laugh, but over time, as he got to know me better, it became easier,” Kakra said.

“I think the key is spending time with just one of us; eventually, you learn the differences and can tell us apart,” Panin added.

Plans
The twin sisters hope to complete law school and pursue full-time careers in law. When asked whether they planned to have children around the same time, they both laughed, calling the idea “too weird.”

They explained that one part of their lives they keep private from each other is their sex life, so discussing ovulation and intimacy to time pregnancies would never happen.

They both, however, hoped to have twins themselves, continuing the family tradition.

Lasting memories
Their father, Mr Afrane, said seeing his two daughters get married on the same day is a moment he will cherish forever.

“Tears of happiness streamed down my face as I watched them, not as children anymore, but as strong, independent women ready to build their lives with the men they love. It was a day of dreams realised, a culmination of hopes and prayers and a celebration of the extraordinary bond that both my daughters shared.”

“The presence of so many esteemed guests, including the President of the World Organisation of Writers (WOW), Margarita AL from Russia and Prof. Akua Britwum, the Chair of the National Media Commission (NMC), only amplified the sense of the occasion. I felt honoured and humbled that they would share in our family’s joy. 

“From the heartfelt speeches to the lively reception, every detail was infused with love and laughter. It was, without a doubt, the most magical day of my life, a day I will cherish forever.”

He made the suggestion in a Facebook post on Thursday, January 8, 2026.

“Going forward, I think music awards organisers should have a category for ‘AI’ generated songs. The synthɛ plenty for the system,” he wrote.

His comment has already sparked discussions among entertainment stakeholders and music lovers, with opinions sharply divided over the role of AI in music creation.

While some argue that AI diminishes creativity, others see it as the new normal that should be embraced and incorporated into musical works as soon as possible.

The conversation around AI and the arts is also evolving globally. The Academy of Motion Picture Arts and Sciences, organisers of the Oscars, recently stated that films made with AI assistance remain eligible for awards, provided human creative control is clearly established. However, the directive emphasises that AI tools must not replace human authorship.

Afriyie’s suggestion raises questions about how Ghana’s music awards schemes will respond to emerging technologies, and whether clear guidelines will be introduced to distinguish human creativity from machine assistance.

For example, the Telecel Ghana Music Awards has historically updated its categories to reflect changing trends and musical styles, and industry observers are now asking how the scheme would judge the songwriter category for AI-assisted works.

As artists continue to explore AI-generated music, this issue is likely to remain a hot topic in Ghana’s music scene for years to come.

The solemn ceremony was held at the Bantama Presby School Park in the Ashanti Region, drawing friends, family, and well-wishers to honour her life and musical legacy.

The ceremony drew prominent figures from across the country, including fans and industry stakeholders, who came together to honour the late artiste and support her bereaved family.

The celebrated backing vocalist for legendary gospel musician Yaw Sarpong and the Asomafo music group passed away on Sunday, December 7, 2025, following a brief illness.

She contributed to numerous gospel classics that continue to inspire believers across the country.

Before her death, Maame Tiwa actively cared for Yaw Sarpong during his health struggles.

Her last known performances were her tribute to Yaw Sarpong at the 2025 TGMA night and at her son’s wedding.

ALSO READ:

• Legendary Yaw Sarpong’s backing vocalist Maame Tiwaa passes on

• Adom Nine Lessons & Carols: Mavis Asante honours Maame Tiwaa with emotional tribute

These claims have been found to be misleading, according to court documents.

Contrary to the narrative, the District Court 1 at Adenta has issued no such order against the artist.

Court documents show that the case, filed by Dr. Evelyn Esi Awittor, is at its preliminary stages.

The hearing has been adjourned, with both parties expected to appear in court on March 3, 2026.

Crucially, the subject property has been under attachment by the Accra High Court since February 2024 due to separate legal matters unrelated to Black Sherif or the RBA’s tenancy.

This suggests a complex legal status of the property, which predates the current tenancy dispute.

The court has not ordered Black Sherif to pay any amount of money.

The figure of GH¢229,500 cited online represents a claim sought by the plaintiff, Dr. Awittor, as alleged outstanding rent as of July 31, 2025.

It is a relief being pursued, not a judgment rendered.

The Adjiringanor property in question is not Black Sherif’s personal residence.

Reliable sources confirm the premises serve as the office space and studios for the Road Boys Association (RBA), his creative collective and record label.

Therefore, characterisation of the location as the musician’s residence is incorrect.

The core legal arguments have not been heard, and the trial has not begun.

The matter will be properly adjudicated when the parties meet in court on March 3, 2026.

In the statement, Sista Afia said she had no knowledge of how or when the young girl got on stage and stressed that she did not personally invite her to perform. She noted that her current focus remains on reviewing the success of her decade-long music milestone and working with her management team to assess all aspects of the event.

She added that after the review, a detailed response on the matter will be issued at the appropriate time.

Sista Afia further thanked the general public for the overwhelming support shown during her anniversary celebration and assured that an update would be provided in due course.

The issue sparked public debate after social media users questioned the appropriateness of a minor performing at an adult-rated concert.

Wendy Shay, Tracy Shay’s mentor, also expressed dissatisfaction, stating that she was not informed about her mentee’s appearance on stage. She explained that one of the challenges of mentorship involves parental interference in decisions concerning young talents.

Wendy Shay clarified that Tracy’s appearance on stage was a decision taken solely by her parents, adding that neither she nor Sista Afia was aware of it. She called for calm as efforts continue to resolve the matter.

In a video broadcast, the mother of one revealed that despite breaking up with Davido, who is now married, many years ago, some fans still address her as the singer’s wife.

She explained that she doesn’t appreciate being referred to as Davido’s wife, stressing that it is important to respect people’s choices.

She emphasised that she has moved on from the singer and urged fans to do the same.

“I once met a content creator who started hailing me as ‘mama Imade, OBO [Davido’s] wife’ upon seeing me. I was shocked because I am not his wife.

“Stop referring to me as Davido’s wife. Let’s respect people’s marriages and rules. If people have moved on, allow them to move on in peace. Allow me to move on in peace. Everyone is happy and doing what they are supposed to do,” Sophia Momodu said.

According to the tour monitoring platform, ‘I Told Them’ grossed $30.5 million from 302,801 tickets sold in 22 shows across Europe and North America.

“@burnaboy’s ‘I Told Them…’ is officially the highest-grossing tour by any Afrobeat artist in history, with $30.5 million from 302,801 tickets sold in 22 shows,” the platform wrote.

Burna Boy also broke the record for the highest-grossing concert by any African artist in history, with $6.147 million from 58,973 tickets sold at London Stadium in London on June 29, 2024, as part of the ‘I Told Them… Tour.’

‘I Told Them’ tour earned $15.19 million in revenue from 152,378 tickets sold in 16 shows in North America. It generated 15.27 million from 150,423 sold in 6 shows in Europe.

Meanwhile, American singer Taylor Swift’s ‘Eras’ tour remains the highest-grossing music tour of all time with $2 billion in revenue from the 149-show, 21-month tour.

The tour doubled the previous record held by Elton John’s Farewell Yellow Brick Road tour.

Adekunle Gold broke the news on Snapchat, revealing that a simple prayer for a child turned into a double blessing.

Sharing a photo of two baby outfits, he wrote that he had asked God for another child and received twice the joy, captioning the post “Double Trouble.”

The announcement comes weeks after fans began speculating about a possible pregnancy following Adekunle Gold’s late December 2025 music video, My Love Is The Same.

The video featured Simi visibly pregnant, alongside a touching appearance by their daughter, Adejare, whose presence further fueled curiosity among fans.

Adekunle Gold and Simi, who tied the knot in a private ceremony in January 2019, are already parents to Adejare, popularly called Deja. She was born in May 2020 and famously inspired Simi’s hit song Duduke.

Known for keeping their family life largely out of the public eye, the couple often choose to share personal milestones through music and subtle social media moments.

Following the announcement, congratulatory messages flooded social media, with fans and fellow celebrities celebrating the couple and offering prayers for the newborns.

In the video, the controversial musician alleged that his father had taken his shoes and clothes and was aggressively claiming his properties. He further accused his father of obtaining the contact details of his baby mamas and demanding money from them.

Expressing deep frustration, Portable said his father had never supported him, even during difficult encounters with the police. He insisted that his rise to fame was achieved without any parental assistance, stressing that he received neither educational support nor financial help from his father.

The singer also accused his father of cheating him financially during construction projects, claiming that building costs were deliberately inflated and materials quoted at significantly lower prices were presented at three times their actual cost.

In an emotional appeal, Portable accused his father of exploiting his success and warned that he would no longer tolerate manipulation. He concluded the video by telling his father to stay away, emphasizing that he would not allow such exploitation to continue.

The Grammy winner announced the news on X on Monday, January 5, writing simply, “My album is done.”

The update closes a long wait for a new solo Bruno project.

His most recent solo album, 24K Magic, was released in November 2016 and earned multiple hits and awards.

Fans and music outlets noted the gap between that release and this new announcement.

Bruno Mars has remained active in music even while not releasing solo albums.

He returned to the spotlight with the Silk Sonic collaboration with Anderson .Paak and continued to record high-profile duets and singles that kept him on the charts and award stages.

Reaction online mixed excitement with jokes. Some fans quipped that a new album might help erase long-running gambling debt rumours tied to Mars’s Las Vegas residency, a story MGM later disputed.

Bruno Mars himself has previously joked about the speculation on social media.

There are no further details yet, as Mars has not shared a release date, track list or tour information, so fans are left waiting for more announcements.

In a public statement, Wiyaala revealed that the enskinment will be performed by the elders and kingsmen of Funsi, following the elevation of the area to paramountcy status. She described the honour as historic and said it marks a new chapter for the traditional area.

As part of the celebration, Wiyaala has also introduced the Pulung Festival, which will be held on the same day. The traditional enskinment ceremony will take place in the morning, followed by a cultural and musical festival in the evening.

The festival, set to begin at 6:30 p.m., will feature performances by Wiyaala, Gally, Samson B, The Yaga Yagas, Savage Dancers from Slovenia, B-Prince, F-Boy, Saadia, Apaco, Iron Bwoy, the Boys and Girls Club, the Chansiye Dance Group, and the Chansiye Women Group, among others.

In a separate public notice, the elders and kingsmen of the Funsi Paramountcy confirmed that Wiyaala will be formally introduced and enskinned as the Paramount Queenmother on the said date. The event will be hosted at the Wiyaala Art Centre.

Organisers have invited members of the public, both within and outside Funsi, to participate in what is expected to be a major cultural milestone for the area.

The 10-track project, now streaming on all major digital platforms, has been described by the artiste as a testimony of faith and divine inspiration meant to draw believers closer to God.

Speaking about the album’s release, Kwaku Adomako explained that The Beginning represents a new chapter in his ministry and musical journey.

“This album is dedicated to drawing hearts closer to God through authentic gospel sounds. Each song carries a message of hope, love, and the unending grace of God,” he said.

The project features collaborations with several gospel ministers, including Racheal Osei Boampong, Sharon Obeng-Animwah, Ransford Larbie, and Kobi Newton.

The album opens with the title track, The Beginning, featuring Racheal Osei Boampong, setting the tone for a worshipful journey that blends traditional Ghanaian gospel elements with contemporary production.

Album Tracklist

1. The Beginning ft. Racheal Osei Boampong
2. Yesu
3. Holy Spirit ft. Sharon Obeng-Animwah
4. All Things Are Possible ft. Ransford Larbie
5. Foforo
6. God’s Love
7. Praise Your Name
8. Fight for You ft. Kobi Newton
9. God Will Do It
10. Local Worship Medley

Among the standout tracks receiving early acclaim are Holy Spirit, Foforo, Yesu, and Praise Your Name, which have been particularly highlighted.

The album concludes with Local Worship Medley, a nostalgic compilation that pays homage to traditional Ghanaian worship songs, demonstrating Adomako’s appreciation for the foundations of gospel music in Ghana.

Reception and Impact

Since its release, the album has been generating positive reviews from gospel music enthusiasts across the country, with many praising its authentic worship experience and spiritual depth.

Industry observers note that Kwaku Adomako’s entry into the gospel scene comes at a time when Ghanaian gospel music is experiencing a renaissance, with younger artistes bringing fresh perspectives while maintaining the genre’s spiritual core.

The musician, who has been steadily building a following through singles and live performances, says the album represents years of preparation and spiritual growth.

“This is just the beginning of what God wants to do through this ministry. We believe these songs will minister to people in their various situations and bring them into a deeper relationship with God,” Adomako added.

About the Collaborations

The featured artistes on the album bring diverse strengths to the project. Racheal Osei Boampong lends her powerful vocals to the opening track, while Sharon Obeng-Animwah’s contribution on Holy Spirit has been particularly noted for its anointed delivery.

Ransford Larbie joins Adomako on All Things Are Possible, a declaration of faith that has resonated with listeners facing various challenges. Kobi Newton’s feature on Fight for You adds dynamic energy to the album’s latter half.

Availability

The Beginning is currently available for streaming and download on all major digital music platforms, including Spotify, Apple Music, YouTube Music, Audiomack, and Boomplay.

Fans can access the full album via: https://album.link/adomakomusic-the-beginning

The artiste has announced plans for live performances and album listening sessions in various churches and gospel events across the country to promote the project and minister to audiences directly.

For more information and updates on Kwaku Adomako’s ministry and upcoming events, followers can connect with him @adomakomusic on all platforms.

READ ALSO:

• DVLA puts rollout of new vehicle licence plates on hold
• Jobs replace economy as voters’ top concern – Global InfoAnalytics
• Anas Aremeyaw’s exposé amounted to blackmail – Kwesi Nyantakyi

Known for her strong spiritual foundation and storytelling approach to music, Nana Hemaa continues to carve a unique space for herself in Ghana’s music landscape.

Nana Hemaa’s musical journey began in her early years, driven by a natural love for songwriting and melodies. However, her path as an artiste is inseparable from her deep-rooted spirituality.

As a spiritual herbal doctor, she draws wisdom from spiritual insight and lived experiences, allowing her music to transcend entertainment and serve as a form of healing and reflection. The passing of her father marked a turning point in her life, and during that painful period, music became her source of comfort, strength, and spiritual release.

Firmly grounded in Highlife music, Nana Hemaa uses the genre as a vehicle for storytelling and cultural expression. She is influenced by iconic Ghanaian artistes such as Kwadwo Antwi, Daddy Lumba, and Akosua Agyapong, whose works are celebrated for emotional depth and timeless messages. Inspired by their legacy, Nana Hemaa crafts songs that speak honestly about life events, relationships, and human emotions.

Her new single, Red Mebone A Nesen, explores the theme of betrayal, particularly the pain that comes from broken trust. The song is based on her personal experiences and observations, infused with spiritual consciousness that encourages listeners to reflect, remain strong, and seek inner balance.

Through heartfelt lyrics and rich Highlife instrumentation, she delivers a message that resonates deeply with listeners navigating similar situations.

The creative process behind the single was both emotional and intentional. Nana Hemaa focused on authenticity, ensuring that the song conveyed genuine feeling rather than conforming to trends. This sincerity sets Red Mebone A Nesen apart within the Highlife space.

Released as a standalone single, the song also signals the direction of Nana Hemaa’s future projects, which will continue to blend spirituality, culture, and real-life storytelling. The single is being promoted across radio, digital streaming platforms, blogs, and social media, with visuals currently in development to further enhance its message.

With Red Mebone A Nesen, Nana Hemaa presents a spiritually grounded musical experience that speaks to the heart, mind, and soul.

READ ALSO:

• AMA launches Cervical Cancer Campaign, targets HPV vaccination and screening services
• Reopening: Single-track SHS freshers report with excitement
• SMEs optimistic about business growth in 2026

In a statement, Mzbel clarified that Prophet Fire Oja was formally invited, arrested, and interrogated by the Ghana Police Service over what she described as false and damaging statements he made against her.

She explained that the pastor had publicly claimed she was seriously ill and hospitalised after an alleged failed “soul travel,” coupled with threats and attacks on her integrity and mental well-being.

“For the avoidance of doubt, Prophet Fire Oja was invited by the police, arrested, and interrogated for 48 hours,” she said, adding that during the interrogation, he admitted he did not know her personally and acknowledged that his actions were wrong.

According to Mzbel, the pastor has since been charged, and the matter is being processed for court. He was granted bail in line with police procedures and is expected to appear in court when scheduled.

Mzbel stressed that her decision to report the matter was not motivated by malice but by the need to protect her name, integrity, and mental well-being, emphasising that every citizen has the right to seek justice.

She also reminded the public that the Ghana Police Service exists to protect all citizens, regardless of status or influence, and commended the Service for its professionalism.

“Justice is not a privilege; it is a right,” she said, thanking the public for standing for truth and accountability.

The post has raised questions about her relationship with two young influencers, Tracy Shay and Korkor Shay, both of whom have been closely associated with the singer in recent months.

In the post, Wendy Shay spoke candidly about the difficulties that come with guiding minors who are not one’s own, particularly when parents become involved.

“The hardest part of mentoring someone else’s child is often the parents’ interference. What’s all this?” she wrote on Facebook.

Her comments triggered speculation on social media about possible tensions between the singer and the two children, who have appeared alongside her at events and performances.

Wendy Shay’s association with Tracy Shay first gained national attention after the young girl went viral for her energetic dance to the singer’s hit song Too Late during the All Ashaiman Schools Festival. The widely shared video caught the artiste’s attention and drew her into the spotlight.

Following the viral moment, and amid online backlash directed at the child, Wendy Shay visited Tracy’s school and announced her decision to sponsor her education from Class Five through to university. She explained at the time that her goal was to safeguard Tracy’s future and ensure that her education remained a priority.

Despite this gesture, the singer has faced criticism from sections of the public for keeping Tracy and Korkor close and allowing them to perform at some of her shows. Critics argue that the children should be shielded from the pressures of the entertainment industry.

Korkor Shay, like Tracy, became known after appearing in videos celebrating Wendy Shay’s music and performances. Although less is publicly known about her background, Wendy Shay has previously stated that her involvement with Korkor is rooted in mentorship and encouragement rather than any formal arrangement.

Wendy Shay has not indicated that there is a rift between her and the two children. However, her post has reignited broader conversations about celebrity mentorship, parental influence, and the delicate balance between nurturing young talent and protecting the wellbeing of minors.

Dakore shared the news in an emotional message with her fans, paying tribute to her late father’s life and legacy. She described him as a loving parent whose guidance and influence shaped the excellence and creativity she and her siblings carry today.

In her tribute, the award-winning actress said she was heartbroken by the loss but found comfort in knowing that her father was finally free from pain. She reflected on cherished memories, including his distinctive sense of style, and noted that despite family complexities, he was deeply loved and will be greatly missed.

Dakore also asked fans and the public to remember the family in their prayers as they navigate what she called a devastating period of grief.

Tributes have poured in from colleagues, fans, and well-wishers across the entertainment industry, offering condolences and support to the Egbuson family during this difficult time.

Kwadee’s appearance at the White House Event Centre marked his first public show in years, a moment long awaited by fans of the musician whose influence helped shape Ghana’s hiplife scene.

Fans were treated to an energetic performance as Kwadee performed some of his timeless hits, reminding audiences of the magnetic stage presence that made him a household name.

His appearance was one of the highlights of the night, with patrons celebrating alongside the star-studded audience backstage.

The concert, which marked a decade in Sista Afia’s music career, also featured other notable performances, including Nana Acheampong’s.

In recent years, the veteran artist had been away from the music scene as he battled mental health challenges and underwent rehabilitation.

In mid‑2025, a close entertainment personality described Kwadee as being stable after spending months in psychiatric care, thanks to the intervention of a private benefactor who ensured he received professional support.

Okomfour Kwadee’s return signals a promising new chapter for the legendary performer in Ghana’s music scene.

Watch video below:

View this post on Instagram

A post shared by Zionfelix.com (@zionfelixdotcom)

What has become one of Ghana’s most anticipated annual events transformed the plush enclave into a throwback of retro flair, drawing massive crowds that filled every inch of the sprawling outdoor space in a sold-out spectacle of music, dance, and unbridled enjoyment.

The event saw hundreds of revellers channelling the era’s iconic fashion and energy, turning the grassy lawns into a living tribute to the decade that redefined popular culture.

Attendees arrived decked out in 90s regalia, embodying the bold, eclectic styles that defined the period—from baggy jeans and plaid flannel shirts tied around waists to colourful bandanas, crop tops, and chunky sneakers.

One standout scene captured the essence in a shot of a group of dancers grooving energetically, with participants sporting red bandanas, black graphic tees emblazoned with motivational slogans like “Positive Vibes”, high-waist jean shorts paired with oversized plaid shirts, and baseball caps turned backwards, all evoking the hip-hop and streetwear explosion of artists like TLC and Salt-N-Pepa.

Nearby, another reveller struck a playful pose in a striped blazer over a crisp white shirt, teamed with a beige mini-skirt, knee-high white socks, black boots, and a pink headband—a nod to the preppy yet edgy looks popularised by shows like The Fresh Prince of Bel-Air and music videos from the likes of Britney Spears in her early days.

The 90’s Jam, a brainchild of Joy FM since its inception over a decade ago, has solidified its status as an iconic programme within The Multimedia Group’s portfolio, blending radio broadcasting with live entertainment to celebrate the golden era of music.

Joy FM, known for its dynamic mix of news, talk shows, and music programming, launched the event to revive the sounds that shaped a generation, fostering a sense of community and nostalgia among Ghanaians, young and old.

This year’s edition, powered by sponsors and featuring DJ sets from station favourites like Lexis Bill, DJ Black, Nii Ayi Tagoe, and Kofi Hayford, amplified the programme’s legacy by fusing timeless 90s tracks with the electric atmosphere of a modern festival.

As The Multimedia Group continues to innovate in media, events like this underscore its commitment to cultural preservation, drawing on Joy FM’s reach to unite diverse audiences in shared joy.

The night’s playlist was a masterclass in 90s musical diversity, seamlessly weaving the decade’s defining genres into a non-stop party that had the venue throbbing until the early hours.

With tickets priced at GHC 300 and selling out weeks in advance, the massive attendance overwhelmed Pleasant Gardens, where every seat, standing spot, and patch of artificial turf was claimed by enthusiastic fans.

Laughter echoed amid photo opportunities capturing retro poses, while food stalls dishing out food, barbecue, and drinks fuelled the all-night festivities.

“This is more than just music; it’s a trip back to simpler times,” said David Lawson, beaming amid the crowd.

As the beats faded into the dawn, Joy FM’s 90’s Jam once again affirmed its place as a cultural staple, leaving participants buzzing with memories old and new.

For those who missed out, mark your calendars—the nostalgia train shows no signs of slowing down, with the next edition set for 2027.

The event, which was already pulsing with the energy of a sold-out crowd, reached a fever pitch when renowned presenter Lexis Bill introduced the former broadcaster-turned-politician as a surprise guest DJ.

Mr Oppong Nkrumah was the host of the Joy FM Super Morning Show (SMS) before his transition into politics.

In a seamless display of skill that reminded patrons of his media roots, Oppong Nkrumah delivered, proving that his groove remains as sharp as his political acumen.

The crowd went gaga with loud noise in a brief moment after Oppong Nkrumah dropped Kwabena Kwabena’s Aso track.

The 2026 edition of the 90’s Jam, a flagship brand of The Multimedia Group, has been hailed as the most successful in the event’s history.

By 9:00 pm, the venue was packed to capacity, with late-arriving hordes of 90s music lovers finding the car park full and the exclusive cabanas completely sold out.

While Oppong Nkrumah was the X-factor of the night, he was supported by Joy FM’s powerhouse lineup of veteran entertainers, including DJ Black and Nii Ayi Tagoe, who ensured the transitions remained flawless throughout the night.

The atmosphere was further elevated by the retro fashion themes.

Some patrons were seen in bucket hats, baggy jeans, and bandanas, recreating the iconic streetwear aesthetic of the 90s.

From the very first note, smiles lit up faces and bodies moved in unison as fans sang along to their favourite highlife classics, creating an atmosphere that was both celebratory and deeply nostalgic. More than just entertainment, the event served as a heartfelt tribute to the roots of Ghanaian highlife music, effortlessly bridging generations of music lovers.

Setting the tone for the night, The Ark Band took patrons on a nostalgic journey. With their energetic performance and authentic sound, they kept the crowd on its feet from the very first beat, reminding everyone why highlife remains timeless.

Between live performances, the energy never waned, thanks to the masterful work of DJ Billy Ocean and Andy Dosty. The seasoned DJs became the heartbeat of the night, delivering seamless transitions, timeless highlife hits, and crowd-moving mixes that kept patrons engaged from the warm-up to the final moments.

One of the night’s standout moments came from legendary songstress Akosua Agyapong, whose powerful and electrifying performance set the Palms Convention Center ablaze, earning thunderous applause from an already ecstatic audience.

Veteran musician Samuel Owusu thrilled patrons with a high-energy performance that had the crowd on its feet from the start, while Adane Best’s appearance felt more like a heartfelt homecoming than a performance. His soulful Ga renditions were warmly received, earning admiration from the fully charged auditorium.

In recognition of their immense contributions to highlife music and enduring influence on generations of music lovers, Adom FM, under the Multimedia Group, honoured Akosua Agyapong, Adane Best, and Samuel Owusu with citations during the event.

The second edition of Adom FM’s Strictly Highlife celebrated more than just music; it honoured heritage, unity, and the enduring power of Ghana’s highlife sound.

Adom Online’s Joseph Odotei was on hand to capture these unforgettable scenes.

Committed to celebrating longevity and preserving the golden sounds of Ghanaian music, the station used this year’s Adom Strictly Highlife to honour icons who have kept the genre alive over the decades.

In a special citation segment, three highlife legends were recognised for their outstanding contributions to entertaining fans and promoting the genre.

Akosua Agyapong, whose voice and music have defined generations, was celebrated for her unmatched impact on Ghanaian highlife. Her enduring hits and inspiring career have made her a pillar of the genre, and the citation reflected her lasting influence on both fans and fellow musicians.

Adane Best, recognised for keeping highlife fresh and vibrant over the years, also received a citation. His timeless songs and dynamic performances continue to captivate audiences, highlighting his role in preserving Ghana’s musical heritage.

Completing the honours was the legendary Samuel Owusu, appearing for the second time at Adom Strictly Highlife. Known for blending the nostalgia of 90s highlife with contemporary energy, he was cited for his dedication to the genre and his ability to connect with fans across generations.

Through these honours, Adom FM reinforced its commitment to sustaining highlife and recognising the artists who make Ghanaian music unforgettable. The station continues to lead in celebrating legends, inspiring emerging talent, and ensuring that highlife remains a vibrant part of Ghana’s cultural identity.

Their ability to read the crowd and respond with infectious rhythm created moments of pure celebration across the auditorium.

What made their performance particularly memorable was how The Ark Band balanced nostalgia with showmanship.

Familiar melodies like those that defined highlife in the 90s were blended with tight instrumentation and smooth transitions, keeping the energy flowing between sets and ensuring there were no dull moments.

Every drumbeat, guitar riff, and horn line was timed perfectly, reflecting the band’s years of experience and deep understanding of the audience’s pulse.

Between sets, their playful interactions with the crowd kept the atmosphere buzzing, making it clear why live bands are the heartbeat of highlife shows.

By the end of their set, it was evident that The Ark Band had reignited a love for 90s highlife, reminding fans why the genre remains a cornerstone of Ghanaian culture.

Watch video below:

View this post on Instagram

A post shared by Adom 106.3 FM (@adom1063fm)

From warm-up to closing moments, the two seasoned DJs delivered seamless transitions, classic highlife selections and crowd-moving mixes that kept patrons fully engaged even between performances.

Their mastery of timing ensured the momentum never dipped, turning every pause into another reason to dance and shake your vocals.

DJ Billy Ocean set the tone early, drawing the crowd into the Strictly Highlife experience with carefully curated classics that stirred excitement across the auditorium.

Andy Dosty later took over and sustained the tempo, skillfully reading the audience and dropping familiar tunes that triggered instant reactions.

Together, they played a critical role in shaping the night’s atmosphere, ensuring Adom Strictly Highlife remained energetic, coordinated and entertaining from beginning to end.

Courtesy of their background in Highlife music, the seasoned DJs understood the sound, the crowd as well as the spirit of highlife.

Watch video below:

View this post on Instagram

A post shared by Adom 106.3 FM (@adom1063fm)

The excitement began the moment the highlife diva stepped into the auditorium.

Even before she mounted the stage, the crowd erupted in cheers, singing along and welcoming her like royalty.

Once on stage, Akosua Agyapong proved why she remains a force in highlife music.

Backed by a vibrant live band, she treated the audience to a solid, well-paced performance, blending power vocals with stage presence that kept the energy high from start to finish.

Her delivery drew spontaneous applause, dancing, and sing-alongs, turning the venue into a full-blown celebration of classic Ghanaian music.

In recognition of her immense contribution to highlife and her impact on generations of music lovers, the Multimedia Group’s Adom FM honoured Akosua Agyapong with a citation during the event.

The citation celebrated her legacy, consistency, and role in preserving and promoting highlife music over the years.

Watch video below:

View this post on Instagram

A post shared by Adom 106.3 FM (@adom1063fm)

The highlight of his set came when he broke into his popular hit “Yeka Wontie,” triggering loud sing-alongs and dancing across the auditorium.

The audience fed off his energy, turning the moment into one of the night’s most engaging performances.

This year’s show marked Samuel Owusu’s second appearance at Adom Strictly Highlife, having been part of the maiden edition of the event.

His return was met with warmth and appreciation, as patrons welcomed him like a familiar and cherished presence on the Strictly Highlife stage.

He added momentum to an already high-powered night that many patrons described as bigger and more exciting than last year’s.

His legacy was recognized as he was also honored with a citation for his undeniable contribution to highlife music and his efforts to keep the decades-old genre alive.

Watch video below:

Unlike the instant frenzy that greeted some performers, Adane Best’s moment unfolded gradually.

As his band eased into the opening notes, the hall settled into a rhythm of nostalgia and spontaneous sing-alongs.

Within moments, voices joined in, phones went up, and the atmosphere transformed into a shared celebration of highlife’s enduring soul.

His set was measured but powerful yet a calm confidence that resonated deeply with patrons.

Midway through the night, the Multimedia Group’s Adom FM honoured Adane Best with a citation in recognition of his contribution to highlife music and his role in sustaining the genre across generations.

The acknowledgement was met with sustained applause, reflecting the deep appreciation many in the auditorium hold for his journey and impact.

Watch video below:

Last year’s maiden edition was unforgettable, with highlife legends Kofi Nti, Nana Agyeman, Samuel Owusu, and Kwaisey Pee delivering surprise performances that had the crowd singing and dancing all night.

The soulful Adaha Dance Band brought the classics to life, adding a nostalgic touch that reminded everyone why highlife remains Ghana’s musical heartbeat.

With such magic on stage last year, this year’s show promises an even fuller celebration of Ghanaian music.

Doors open at 8:00 a.m., and the festival runs until 4:00 p.m.—a full day of rhythm, pure highlife joy you won’t want to miss!

Check out excerpts from last year’s event:

The event, which kicks off at 8:00 p.m. and wraps up by 4:00 a.m., promises a full day of non-stop music and electrifying performances from some of the country’s finest highlife musicians.

Fans can expect a vibrant mix of timeless classics and fresh tunes, bringing together the best of Ghanaian music in one spectacular show.

The event is designed to not just entertain but also celebrate the roots of highlife music, connecting generations and giving audiences a chance to witness live performances that pay homage to Ghana’s musical heritage.

Attendees are encouraged to arrive early to catch every moment, soak in the atmosphere, and enjoy a festival that promises to leave lasting memories.

Whether you’re a long-time highlife enthusiast or a newcomer eager to experience Ghana’s iconic sound, Adom Strictly Highlife is the place to be today.

Ticket prices: SINGLE ¢200, DOUBLE ¢300, SILVER ¢2000, GOLD ¢3000, and PLATINUM ¢4000

Dial 7253404# on all networks to purchase tickets.

Don’t miss out on this celebration of culture!!