Taylor passed away early on Saturday, 7 February 2026 at the Saltpond Hospital, the Ghana Music Union said in a statement. MUSIGA president Bessa Simons said: “Ghana and indeed the world has lost a great son.”  

Taylor’s passing comes just a month after he celebrated his 90th birthday, and a day after the launch of the Ebo Taylor Festival, an event set up to honour his musical legacy. In its statement MUSIGA said: “Uncle Ebo Taylor Rest in perfect peace.”  

Born Deroy Taylor on 6 January 1936 in Cape Coast, he became one of Ghana’s most influential guitarists, composers, bandleaders and producers. For more than six decades he helped shape highlife and Afrobeat music in Ghana and beyond, blending traditional rhythms with jazz, funk and soul to create a signature sound.  

Taylor first rose to prominence in the late 1950s with the Stargazers and the Broadway Dance Band. In 1962 he took his Black Star Highlife Band to London where he worked with Afrobeat pioneer Fela Kuti and other African musicians, before returning home to produce recordings for major Ghanaian artists including Pat Thomas and C.K. Mann.  

His music later found new audiences across the world. In the 21st century international producers sampled his work, including Usher on “She Don’t Know” featuring Ludacris from Taylor’s song “Heaven.” He also released acclaimed albums such as Love and Death (2008), Appia Kwa Bridge(2012) and Yen Ara (2018).  

Taylor continued to perform and record into his late 80s, most recently with the Ebo Taylor JID022album released as part of the Jazz Is Dead series in 2025.  

MUSIGA’s tribute described him as “Saltpond’s light … Ghana’s legend … the world’s icon” and noted he had formed and led more than a dozen bands, with his final ensemble being the Ebo Taylor and Family Band.  

Taylor’s death is mourned by musicians and fans across Ghana and the global music community, many of whom credit him with raising the profile of West African music.

Speaking on Joy News, Abeiku Santana disclosed that the two personalities have been engaged by the Minister for Tourism, Culture and Creative Arts, Dzifa Gomashie, as part of efforts to strengthen Ghana’s tourism branding.

According to him, Hamamat Montia will be commissioned as a tourism ambassador for shea butter, while Wiyaala will focus on promoting Ghana’s rich cultural heritage.

“Our sister Hamamat will be commissioned as a tourism ambassador for shea butter. Wiyaala also is coming on board. The Honourable Minister, Dzifa Gomashie, has engaged these personalities,” he said.

Hamamat Montia has gained international recognition not only for her modelling career but also for championing shea butter and natural skincare products, a key industry linked to Northern Ghana’s economy and women-led enterprises.

Wiyaala is celebrated for projecting Ghanaian and African culture through her music, language, and traditional aesthetics, earning global acclaim for her performances and strong cultural identity.

The initiative forms part of a broader strategy by the Ministry of Tourism and the GTA to leverage influential Ghanaian figures to promote local industries, enhance destination branding, and showcase Ghana’s cultural heritage to the world.

For instance, Liberia, Africa’s oldest republic, was founded by freed black American slaves in 1822. After Ghana became independent in 1957, a wave of black intellectuals and artists moved there from the US. Martin Luther King, Malcolm X and Muhammad Ali subsequently paid high-profile visits to Ghana, while Guinea became home to Black Panther leader Stokely Carmichael.

This transatlantic connection has ebbed and flowed over time – but in recent years, there has been a real resurgence, helped by the use of DNA tests.

A number of black American celebrities have sought the nationality of African countries – singer Ciara has become a citizen of Benin, rapper Ludacris and film star Samuel L Jackson are officially Gabonese, actors Meagan Good and Jonathan Majors are citizens of Guinea and musical icon Stevie Wonder has Ghanaian papers.

Just last week, wildly popular content creator IShowSpeed was approved for a Ghanaian passport after stopping in the country on a whirlwind African tour.

The celebs have, in most cases, flown out for elaborate citizenship ceremonies and tours of local beauty spots, all of which have been captured for glossy social media content.

Posting photos of her citizenship ceremony in Guinea, Meagan Good told her 7.8m Instagram followers last month: “This is history in motion”.

Good, who has featured in films like Think Like A Man and Saw V, and her husband Majors, known for Creed and Marvel flick Ant-Man and the Wasp, became citizens after DNA testing traced their ancestry to Guinea.

“This recognition goes beyond titles, it is a homecoming and a reconnection to our Afrodescendant roots,” said Good.

Messaging from the various African governments has echoed this sentiment.

“In conferring Ghanaian citizenship upon Stevie Wonder,” former president Nana Akufo-Addo said at Wonder’s 2024 ceremony, “we not only extend our warmest embrace to a beloved son of Africa but also reaffirm our belief in the enduring spirit of pan-Africanism and the global African family”.

Ghana has long promoted its pan-African credentials – for a decade anyone whose ancestors came from Africa have been entitled to Ghanaian nationality, a policy that arguably inspired Benin to launch a similar scheme.

Ghana also launched the “year of return” in 2019, a buzzy initiative encouraging Africans in the diaspora to relocate there.

More than 1,000 African-Americans have done so in the past decade, according to Dr Erieka Bennet, ambassador for the Diaspora African Forum, which helps people relocate to Ghana.

“It is not only about romanticism,” Marie-Roger Biloa, a Cameroonian journalist with a focus on West Africa, tells the BBC.

“It’s all very much about how can we tap into the potential they have, the Americans.”

Tourism is an obvious motivator. Governments hope that social media posts from the stars will encourage other black Americans, a large group with a growing economic power, to visit and inject money into their countries.

Biloa notes that Benin’s president, a former business tycoon, is keenly aware that his country’s former role as a key departure point for slaves makes it a poignant destination for black Americans.

“President [Patrice] Talon has really started investing in cultural heritage, in a way to engage the African-Americans worldwide. He understood it could be an engine for a new form of tourism and a new branch of economy,” she says, mentioning The Marina Project, a memorial and tourist complex being built in Ouidah, once one of Benin’s main slave ports.

Positive publicity from stars like Ciara may also encourage diasporans to invest or buy property in Benin, as they have been doing in Ghana since the year of return.

Soft power is also an important factor – by promoting their culture and building a robust network around the world, countries like Benin, Guinea, Gabon and Ghana stand to gain global influence.

In this mission, celebrity citizens act as ambassadors, Francis Kpatindé, a Beninois lecturer at France’s Sciences Po University, tells the BBC.

“Benin has no diamonds like the Democratic Republic of Congo, no petrol, nothing. We just have cotton, the ports and culture,” he says.

The celebrity ambassadors are “a way for us to be on the record, to be on-screen. Now it’s working. You can go to the social networks. You see Benin everywhere,” Kpatindé says.

Many peoplefrom the countries involved recognise the economic and political benefits of giving citizenship to black American celebrities, but others are more critical.

There is an underlying feeling that the stars are bypassing what can be, for those born in the countries, a cumbersome and costly process to get passports.

Taufic Suleman, a painter and decorator from Ghana, felt “irritated” when the foreign minister announced that IShowSpeed, who grew up in the US but has a Ghanaian mother, had been approved for a passport.

“It is really, really, really a bad precedent… why do people, your citizens, have to go through vetting? Sometimes others end up being denied,” Suleman, aged 32, tells the BBC.

“You just can’t hand out a passport to anyone just because the person is a celebrity.”

Following the foreign minister’s announcement, Patrick Boamah, a member of the Ghanaian parliament’s Foreign Affairs Committee, told local broadcaster Channel One that the content creator must follow the required legal procedures to get a passport, although the authorities “may waive certain steps for him”.

Sindé Chekete, the head of Benin’s tourism authority, told the BBC that “citizenship processing is not influenced by celebrity status” and that Ciara “followed the same standard procedure as any other applicant”.

Another criticism of the celebrity citizenship trend is that it will be superficial and fleeting – the stars will collect their certificates, publish a few social media posts, then go quiet.

It is not clear whether, in all cases, the celebrities are required to publicise or maintain lasting links to their second homes, but Chekete stressed that Beninois citizenship “is not a transaction and it does not come with contractual obligations, whether promotional, financial, or otherwise”.

Six months after getting her citizenship, Ciara returned to Benin in January to play at the Vodun Days festival.

Meagan Good and Jonathan Majors have stressed that their connection with Guinea would be “long-term and evolving”.

“We could absolutely see ourselves having a home here and spending meaningful time in Guinea,” they told the BBC over email.

Yaw Nyame, one of the numerous Ghanaians who welcomed IShowSpeed’s naturalisation, says he hopes the content creator uses his passport to set up a base in the country.

“Even if he’s not going to come to Ghana all the time, at least him having his presence in Ghana or doing a project in Ghana,” Nyame says.

The doctor says giving IShowSpeed, real name Darren Watkins Jr, a passport is a “brilliant, strategic move” as the creator currently has “all eyes on him”. He has more than 50 million YouTube subscribers, with a recent 20-country tour of Africa contributing to the growth of his platform.

It will take time for Ghana, Gabon, Guinea and Benin to gauge whether their strategies have paid off – maybe one or two decades, Kpatindé says.

Earlier this week, Benin’s government said it would open a government agency specifically dedicated to nationalising “Afro-descendants”.

However, Ghana reached a roadblock in its plans to reconnect with the diaspora, announcing it was pausing its citizenship applications as it needed to make the system more accessible and user-friendly.

Regardless, Kpatindé believes that by welcoming home some of the diaspora’s brightest stars, the African countries are on the right trajectory.

People on the continent have long hailed pan-Africanism, “but now we need action,” he says. “We need concrete acts, not to just speak”.

Speaking at the Africa Prosperity Dialogues on Friday, February 6, 2026, Mr Eazi said that despite his international success, travelling and doing business within Africa often proves more difficult than touring Europe or the Americas.

“In the last 10 years, I have spent six of those years as a singer touring the world. During that time, it was easier to tour the Americas and Europe as a young artiste than to tour Africa. Even after I had the biggest song on the continent, it became harder for me to tour other African countries,” he said.

He recounted a personal experience in Kenya, where he was delayed by immigration officials despite being the lead performer and having already received payment for the show.

“I remember going to Kenya to perform with my band. Even though I had already been paid the larger portion of the fee and was the lead performer, my band, made up of other nationalities, was allowed to cross the border while I was held up by immigration,” he explained.

“I had to insist that I be put on the next flight. That experience speaks to the kind of friction being created, which is preventing us from uniting, growing stronger, and developing as a continent,” Mr Eazi added.

He noted that over the past four years, he has shifted greater focus towards entrepreneurship in an effort to help address these barriers to intra-African mobility.

“This friction is felt most by the youth, artistes, creators, women, and SMEs who are not only trying to improve their lives but also contribute meaningfully to a better Africa,” he said.

The Zambian leader made the light-hearted remark at the Ghana–Zambia Business Forum on Friday, February 6, 2026, as President Mahama continues a three-day visit aimed at strengthening bilateral relations.

While the visit has featured high-level diplomatic and economic engagements, public attention quickly shifted to President Mahama’s choice of outfit. The Ghanaian leader has been seen wearing the fugu — a traditional smock associated with northern Ghanaian culture and heritage.

The attire, which symbolizes identity, pride, and cultural expression, generated mixed reactions online. Many Ghanaians applauded the president for promoting local culture on an international stage, while some Zambian social media users referred to it as a “blouse,” sparking playful exchanges between the countries’ netizens.

Addressing the matter with humor, President Hichilema embraced the cultural moment.

“I am very happy that the foreign minister is wearing that,” he said, referring to Ghana’s Minister for Foreign Affairs, Samuel Okudzeto Ablakwa. “I have asked my team to post on various platforms that the president of Zambia will be ordering more of that for himself.”

Responding to the remarks, Mr. Ablakwa said the conversation had grown beyond fashion, sparking a wider reflection on African identity and culture.

“This is my president’s favourite attire, the fugu,” he said. “We are excited about the buzz it has generated. It has triggered a renaissance in what Kwame Nkrumah described as the African personality.”

He added that the discussion highlights deeper issues of identity and self-worth on the continent.

“That is about reclaiming African identity, dignity, and culture. When we talk about restitution and reparation, it is not only about compensation for the transatlantic slave trade; it is also about reconnecting with our roots and identity,” the Foreign Minister explained.

What began as online banter has now evolved into a light-hearted cultural exchange, allowing both countries to celebrate Africa’s rich diversity and shared heritage.

Speaking on Joy FM’s Personality Profile with Lexis Bill on Thursday, February 5, 2026, the ‘Mr. Music Man’ shared a gripping story of a brush with the law triggered by a secret relationship with a police officer’s daughter—a story he has kept hidden for nearly half a century.

The incident occurred during Kojo Antwi’s early years as a “band boy”, long before he became a household name.

While performing at Walako, a popular spot near Kaneshie, his girlfriend—who was supposed to be in school—made a surprise appearance at the venue.

Concerned for her safety and education, the young musician called for a break in the set to personally see her off.

“I decided to send her home. So I took her to try to grab a taxi for her to go home. We were there, and the police patrol team just bumped into us, and they started asking us questions. One question. They wouldn’t even wait for answers,” Kojo Antwi recounted.

The situation escalated when the patrol team took the young couple to the girl’s mother, only to discover that her father—a high-ranking officer at the Nima Police Station—was already on the hunt for them.

“I hadn’t had time to talk to her about her dad. She had never mentioned the daddy. I didn’t know he was a police officer at Nima Police Station. That’s a part that, I mean, most people didn’t know about,” he told Lexis Bill.

Kojo Antwi reflected on the harsh societal stigma musicians faced in that era, noting that being a “band boy” was far from the prestigious career it is today.

“Back then, it wasn’t something that came with prestige, nothing. It’s not something that a policeman would want the daughter to be attached to.”

The 18-year literary journey

This revelation is just one of many unspoken stories captured in his upcoming memoir, a project Kojo Antwi revealed has been in development for 18 years.

The book, which has been ready for some time, was delayed as the singer waited for the right national climate. The book is an autobiographical odyssey that blends his personal history with the evolution of Ghanaian music, titled ‘From Bands to Ballads to Brilliance: Mr Music Man – The Journey’.

The book launch will take place on Wednesday, February 13, 2026, at the Labadi Beach Hotel.

The book is expected to cover:

The Early Days: Growing up in Darkuman and his early exposure to the diverse sounds of Accra.

The Boom Box Era: His time with the band Classique Vibes and his subsequent rise to solo superstardom.

The Philosophy of Love: A deep dive into the lyricism that earned him the title of Ghana’s greatest romantic songwriter.

Social Commentary: His perspective on the socio-political shifts in Ghana over the last 40 years.

Kojo Antwi remains one of the few African artistes who has successfully managed to keep his private life shielded while maintaining a massive, cross-generational public profile.

With over 20 albums to his name, he has defined the sound of contemporary Highlife.

From his reggae-infused tracks recorded in Europe to his traditional African rhythms, he has performed on world stages from London to New York.

His annual December 24th concerts have become a national institution, serving as a pilgrimage for lovers of live music for over three decades.

He announced the initiative during the ‘Usaywetin‘ show on Hitz FM on Thursday, following widespread social media debate sparked by comments from some Zambians who mocked President John Mahama’s attire during his recent three-day state visit to Zambia, following the invitation of Zambian President Hakainde Hichilema.

President Mahama wore the traditional attire during the visit when he was received on arrival at the Kenneth Kaunda International Airport by President Hichilema and the First Lady, in a ceremony marked by cultural displays and a strong show of Ghanaian pride.

However, images of the outfit drew ridicule online, with some Zambian commentators describing it as a “blouse.”

The remarks quickly triggered backlash from Ghanaians, especially on X (formerly Twitter), where users mounted a robust defence of the attire and its cultural significance.

The reaction underscored a broader need for Ghanaians to take ownership of their cultural identity and proactively educate others about traditional symbols and attire.

The ‘Fugu Friday’ is aimed at encouraging Ghanaians to wear the traditional smock regularly, particularly on Fridays, as a visible expression of pride in Ghanaian culture and heritage.

What began as a cross-border fashion controversy has since evolved into a national conversation, with many Ghanaians using social media to explain the history, symbolism, and regional importance of the fugu, especially among northern communities.

The initiative has already gained traction online, with users welcoming the idea as a creative way to turn ridicule into cultural education and reaffirm Ghana’s identity on the global stage.

Speaking in an intimate and wide-ranging interview with Lexis Bill on Joy FM’s Personality Profile, the Tom & Jerry hitmaker opened up about the emotional and logistical hurdles that delayed the project for almost a generation.

For fans who have followed the maestro’s career, the announcement of a literary project is a dream come true.

However, Kojo Antwi disclosed that the manuscript has been sitting in wait for quite some time, held back by a sense of responsibility toward the national climate.

“I would say it has taken me about 18 years. Eighteen years, and when it was ready, a lot of things started happening here in Ghana, a lot of things that I couldn’t just bypass and had to wait for,” he explained. “It’s been ready for a while.”

Kojo Antwi suggested that the timing of a legacy project is just as important as the content, noting that he felt compelled to wait for the right energy in the country before sharing his life’s philosophy and history.

The book is an autobiographical odyssey that blends his personal history with the evolution of Ghanaian music, titled ‘From Bands to Ballads to Brilliance: Mr Music Man – The Journey’.

The book launch will take place on Wednesday, February 13, 2026, at the Labadi Beach Hotel.

The book is expected to cover:

• The Early Days: Growing up in Darkuman and his early exposure to the diverse sounds of Accra.
• The Boom Box Era: His time with the band Classique Vibes and his subsequent rise to solo superstardom.
• The Philosophy of Love: A deep dive into the lyricism that earned him the title of Ghana’s greatest romantic songwriter.
• Social Commentary: His perspective on the socio-political shifts in Ghana over the last 40 years.

Kojo Antwi remains one of the few African artistes who has successfully managed to keep his private life shielded while maintaining a massive, cross-generational public profile.

With over 20 albums to his name, he has defined the sound of contemporary Highlife.

From his reggae-infused tracks recorded in Europe to his traditional African rhythms, he has performed on world stages from London to New York.

His annual December 24th concerts have become a national institution, serving as a pilgrimage for lovers of live music for several years.

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The decision follows a prolonged dispute over Liam’s paternity, which has been repeatedly raised by Mohbad’s father, Joseph Aloba. He has insisted that the late musician, who died on September 27, 2023, should not be laid to rest until a DNA test confirms whether Liam is his biological grandson.

At the resumed hearing on Tuesday, February 3, counsel for Mr Aloba, Barrister Oladayo Ogungbe, disclosed that the court directed both parties to nominate foreign facilities capable of conducting tissue-based DNA tests.

According to him, Mr Aloba’s legal team is required to propose three DNA testing centres abroad, while the legal team of Mohbad’s widow, Wunmi Aloba, will also submit three centres. The court will then select one facility from each list and independently choose a third centre, bringing the total number of tests to three.

Barrister Ogungbe explained that the court specifically ruled that all selected facilities must have the capacity to conduct tissue-based DNA analysis, given the circumstances surrounding the case.

The matter has been adjourned to February 10 for further proceedings.

Originally released over a decade ago, the record has returned to national prominence, not on the strength of nostalgia alone, but through renewed relevance in today’s digital music ecosystem. Over Again is currently charting in the Top 100 on Spotify, while also recording strong performances across other major streaming platforms.

The resurgence has been driven largely by social media, where the song has gone viral on TikTok, Instagram and other platforms. Gen Z creators and millennials are using the track to soundtrack emotionally driven content, ranging from short skits to deeply personal storytelling videos. As a result, the song has become a cultural reference point for themes of love, betrayal, heartbreak and emotional resilience.

The trend has grown so significant that top tier influencers and several high profile digital creators have joined in, using Over Again as background music for their videos and further amplifying its reach across the country.

Speaking on the song’s resurgence, Edem expressed excitement about its renewed impact.

“When I created Over Again, I knew the impact it had. I knew how strong the song was back then,” he said. “Seeing it connect again after all these years, especially with a new generation, is very exciting.”

The rapper encouraged his fan base, popularly known as the Go Getters, to continue engaging with the song and sharing their personal stories through it.

At the core of Over Again is a storyline that remains strikingly relatable. The song explores betrayal among friends, romantic relationships disrupted by close acquaintances and the emotional aftermath of loving and losing. These themes have resonated strongly with audiences, many of whom say the narrative still mirrors real life experiences today.

Consequently, the song is now widely used to tell stories such as losing a partner to a friend, navigating heartbreak after deep emotional investment and reclaiming personal strength after betrayal. Interestingly, the trend also includes users who position themselves as the “other person” in such scenarios, reframing the song around accountability, growth or redemption.

The renewed success of Over Again underscores how music consumption has evolved. In the digital era, a song’s lifespan is no longer confined to its release period. Social media and streaming platforms have created a level playing field where timeless music can resurface, cross generational boundaries and regain commercial and cultural relevance.

With Over Again re entering the charts, ranking among Spotify’s Top 100 and dominating social media trends, Edem’s classic stands as proof that great music does not expire. Twelve years on, Over Againhas not only returned, it is once again at the centre of Ghana’s musical conversation.

Speaking in an interview on Hitz FM’s Hitz Gallery, E.L described entering record deals without careful consideration as “savage,” urging artistes to avoid making costly mistakes.

“I wouldn’t advise anybody to sign a record deal blindly,” he said.

Drawing from personal experience, E.L revealed that a previous contract put him in a difficult situation that forced him to step away from music for a period.

“From my experience, I found myself in a situation that made me go quiet for a while because I had to untangle myself and come out safely. I realised that I had taken a bigger step by signing some things, and later it wasn’t really what I thought it would be,” he explained.

According to the rapper, inadequate documentation and lack of proper representation can create serious challenges for artistes. He stressed the importance of legal counsel and fully understanding contract terms before signing any agreement.

“It could get really sticky if you’re not careful,” he noted.

E.L also disclosed that contractual disputes once limited his creative freedom, preventing him from releasing some of the music he wanted.

He further cautioned that some individuals in the music industry prey on young, talented artistes for personal gain.

“There are sharks out there who want to trap you, exploit your music, and leave you hanging,” he warned.

E.L’s message to up-and-coming musicians is clear: protect yourself, seek expert advice, and think carefully before committing to any record label deal.

In a video circulating online, Agradaa is seen without her trademark white handkerchief, which she has consistently used in previous appearances to shield her face from cameras.

The latest appearance comes after earlier reports suggested a noticeable change in her looks. While there was only a slight change in her skin tone, observers noted that she appeared more radiant than expected.

Though visibly subdued in spirit, Agradaa appeared more confident in her demeanour compared to past public outings.

The development has also fueled speculation about whether the individual appearing in court during her trial was truly Agradaa.

She is currently in court to appeal the 15-year jail sentence handed down in July 2025, following her conviction for charlatanic advertisement and related offences.

Authorities said her promotional activities were deceptive and harmful to the public, leading to her conviction.

Watch video below:

In an interview on Joy Prime, the musician, born Rex Owusu Marfo, disclosed that he began his career as a gospel artist, releasing his first three albums as gospel projects while actively serving in church.

As a committed Christian at the time, he said he was a regular church singer who ministered with a quartet during Sunday services.

The turning point, however, came when he approached his pastor for support to enter a recording studio. His request was taken to the church board but ultimately declined.

“He (the pastor) came back to tell me the church said they couldn’t use church money for studio recording,” Rex Omar recounted.

At the time, he said he struggled to understand why pastors received financial support from the church while musicians, who used the same Bible to write and minister songs, were left unsupported.

“You pick the Bible and preach, and the church pays you a salary, takes care of your family and your children’s education. I also use the same Bible to write songs and sing in church, and you say you can’t support me. Then what will be my future?” he questioned.

Disillusioned by the decision, Rex Omar said he resolved to take his talent outside the church space to survive.

“If the church cannot support my talent, then I’ll go out there and take money from outside. And when I take that money, I won’t use it to record church music,” he stated.

Despite leaving the church, the musician clarified that his decision did not weaken his spirituality.

“God did not lose a soul, the church lost a client. I am still very close to God. But since I walked out of church, I have never gone back. In 40 years, I haven’t been to church, and I am even a far better person. I used to believe in God, but now I know God,” he said.

Many decades later, Rex Omar said he has no regrets, noting that his switch to highlife has positioned him as the legendary musician he is today.

Speaking in an interview on Prime Time on Joy Prime, the respected musician dismissed the notion of death as the end of existence, arguing that the true essence of a person is separate from the physical body and does not perish when the flesh breaks down.

Rex Omar explained that the human body is sustained by food, water and air—none of which truly belong to the individual—describing life as part of a broader, interconnected system beyond human control.

He noted that once the body has completed its purpose on the physical plane, it ceases to function, but that does not mean the individual has ended.

“My body will deteriorate but I will never die. I don’t believe in death; what you call death is the body deteriorating. Anything that was given birth to will perish. Where did I get this body from? When I was given birth to, I was like this. This body is just food and water which will vanish someday. I don’t believe in life after death too because there is no death,” he said.

The musician also questioned the importance society places on funerals and post-death rituals, particularly for public figures.

He added that he has no preference regarding how his body should be handled after it deteriorates, whether buried, cremated or otherwise disposed of.

According to Rex Omar, elaborate funerals and religious ceremonies are largely human constructs and unnecessary. He insisted that he does not need a church for his burial as long as he has his family.

Reflecting on his philosophy, Rex Omar said he strives to live his best life, ready for whenever he breathes his last.

This was not the first time the Speaker has showcased Ghana’s rich cultural heritage through his choice of attire in Parliament.

Historically, he remains the only Speaker of the House under the Fourth Republic to consistently demonstrate a strong interest in wearing traditional attire, particularly regalia associated with traditional rulers, during parliamentary proceedings.

Below are photos from his appearance in Parliament on Tuesday.

In an interview, the award-winning artiste said he would support the change if it is guided by clear, nationalistic reasons and brings a positive impact to the country.

He noted that the facility was originally known as Accra International Airport and that reverting to this name could be acceptable if it promotes national unity and progress.

However, Stonebwoy cautioned against a change that does not provide meaningful benefits for the nation.

Acknowledging General Emmanuel Kotoka, after whom the airport is named, the musician highlighted the historical significance tied to his hometown, Alakple, and to Ghana’s history, including the 1966 coup that overthrew Dr. Kwame Nkrumah.

“This historical narrative has influenced arguments for renaming the airport, with some believing General Kotoka may not represent the best symbol for the state,” he said.

Nonetheless, Stonebwoy stressed that Kotoka’s legacy should be considered in full, noting that there may have been positive reasons for naming the airport after him.

He concluded that if a renaming is to take place, it should be for a compelling and constructive reason that benefits Ghana’s image and strengthens the national narrative.

Ghanaian musician Stonebwoy shares his views on the recent debates surrounding calls by the majority in Parliament to rename Kotoka International Airport to Accra International Airport. pic.twitter.com/ZVaVVzHb1r

— SIKAOFFICIAL🦍 (@SIKAOFFICIAL1) February 4, 2026

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According to Darkovibes, the dream occurred during a period when he was frequently travelling to promote Ghanaian music internationally. In the dream, Shatta Wale advised him to reduce his travels and focus on building his music locally first.

“Every year around this time, we try to export Ghana music to the world with travelling, but for the past two to three years, I had a dream where Shatta told me I travel too much and that I should stay in the country and focus on pushing my songs locally,” he said.

What made the dream more striking, Darkovibes explained, was that Shatta Wale had already given him the same advice in real life, both directly and through other people.

“I swear on my dead parents, he had already told me in person and even sent the message through other people, so I was shocked when he still came to tell me again in my dream,” he revealed.

Although Darkovibes has not personally discussed the dream with Shatta Wale, he shared the experience with other industry professionals.

Since the dream, the singer says he has consciously cut down on travelling and redirected his energy toward entertaining fans within Ghana, aiming to strengthen his local base before pursuing further international opportunities.

He also paid respect to industry elders who have played key roles in his growth, stressing that he values their guidance and mentorship.

It describes the honour as a defining moment for African music and culture.

Fela made history as the first African artist to receive the prestigious award, presented on January 31, 2026, during the Grammy Special Merit Awards ceremony in Los Angeles, United States.

The award was accepted on his behalf by his children, Yeni, Femi, Kunle, and Shalewa Kuti, who represented the family at the ceremony.

Reacting to the development, the Lagos State Commissioner for Tourism, Arts and Culture, Mrs Toke Benson-Awoyinka, described the recognition as a landmark achievement that reflects the global influence of Fela’s music and message.

According to her, honour is not only a victory for the Kuti family but also a source of pride for Lagos State, Nigeria, and the African continent.

“This historic recognition is a powerful reminder of Lagos State’s enduring position as the cultural heartbeat of Africa and a nurturing ground for creative excellence,” Benson-Awoyinka said.

She noted that Fela’s work placed African music on the world map and continues to resonate across generations, long after his passing.

The commissioner added that the Grammy honour reinforces the state government’s commitment to preserving Fela’s legacy and strengthening the creative sector through sustained support for the arts, culture, and cultural diplomacy.

“Fela’s contribution to global music and social consciousness remains immeasurable. His music boldly confronted military dictatorship, corruption, social injustice, and the oppression of the mass , while amplifying Africa’s voice on the global stage,” she said.

She further stated that nearly three decades after his death, Fela’s music remains relevant, influential, and widely celebrated across the world.

Meanwhile, members of the Kuti family described the award as a deeply meaningful moment, noting that it symbolises a bridge between generations and reflects the growing global recognition of African music and cultural expression.

They noted that the honour affirms Fela’s lasting impact, not only as a musician but as a cultural revolutionary whose work inspired resistance, dialogue, and artistic freedom.

Fela Anikulapo-Kuti, the creator of Afrobeat, was known for blending traditional African rhythms with jazz, funk, and highlife, and for using his music as a vehicle for political expression and social critique.

Beyond music, he emerged as one of Africa’s most fearless voices against oppression, earning global attention for his activism and uncompromising stance against injustice.

Today, his influence is evident in the work of numerous artists across Africa and beyond, as Afrobeat continues to shape global music trends.

The Lagos State Government reaffirmed its commitment to promoting the state’s rich cultural heritage and ensuring that the legacies of iconic figures like Fela Anikulapo-Kuti are preserved and celebrated for future generations.

Davido’s song With You, featuring Omah Lay, was nominated in the Best African Music Performance category but did not win. The award went to South African star Tyla for her track Push 2 Start.

The category featured strong Nigerian representation, including Burna Boy (Love), Davido (With You featuring Omah Lay), and a joint entry from Ayra Starr and Wizkid (Gimme Dat).

Also nominated was Hope & Love by Eddy Kenzo and Mehran Matin. Despite the heavy Nigerian presence, none of the country’s nominees won the prize.

Taking to Instagram, Davido disclosed that after the loss, he told his wife there was no need to attend the after-party.

However, Chioma encouraged him otherwise. Sharing photos from their outing, the singer wrote: “I said baby listen, we lost again, let’s not go! She said, ‘Be humble in victory and gracious in defeat. We’re outside.”

News of his passing was announced by his long-time music director in a social media post that has since sparked an outpouring of tributes from across the global Christian music community.

Kenoly, best known for his powerful live worship recordings, was a defining voice in contemporary praise and worship music from the early 1990s.

His influence stretched far beyond church walls, shaping modern worship styles in congregations across Africa, Europe, the Americas and Asia.

Born in Coffeyville, Kansas, Ron Kenoly rose to international prominence with the release of his 1992 album Lift Him Up, which became one of the best-selling live worship albums of its era.

Songs such as Ancient of Days, Jesus Is Alive and We’re Going Up became staples in churches worldwide, celebrated for their vibrant arrangements, scripture-based lyrics and emphasis on joyful, participatory worship.

Over a career spanning several decades, Ron Kenoly released multiple acclaimed albums, including Ron Kenoly, God Is Able, Welcome Home and Sing Out with One Voice.

His music was noted for blending gospel, contemporary Christian music and praise choruses, often delivered with large choirs and energetic congregational responses.

Beyond music, Kenoly served as a pastor and worship leader at Jubilee Christian Center in San Jose, California, where he ministered for many years.

He was also a sought-after speaker and worship facilitator at international conferences and crusades, particularly in Africa, where his music found a deep and lasting resonance.

Following the announcement of his death, tributes have continued to pour in from fellow gospel artists, worship leaders and fans, many of whom credit Ron Kenoly with shaping their faith journey and musical calling.

His legacy is widely recognised as foundational to the global praise and worship movement.

In Ghana, Ron Kenoly’s impact was memorably felt in 2011 when he headlined Adom Praiz, the annual gospel music concert organized by Adom FM.

His participation and appearance at the event drew thousands of worshippers and remains one of the most talked about moments in the history of the concert.

It further cemented the event’s reputation as a major fixture on the gospel music calendar.

Ron Kenoly is remembered not only for his music, but for a life dedicated to ministry, worship and inspiring generations to lift their voices in praise.

No further details, including his cause of death, have been disclosed.

In a statement posted on Instagram, the organisation described Taracena as a “fundamental actor in Mexican cinema, whose presence on screen left an intense, honest, and profoundly human mark”.

“The Academy extends its respectful and heartfelt condolences to his family, friends, and colleagues,” it continued. “His work and his unforgettable face will remain in the memory of our cinema.”

The Academy praised the actor for his “memorable” performances in the films he “brought to life”.

Recognising his achievements, the statement added, “He was nominated three times for the Ariel Prize (Mexico’s answer to the Oscars) for The Violin, Potosí and La Carga, recognition of a career marked by absolute surrender, expressive strength and a deep commitment to his craft.”

It concluded, “The Academy accompanies with respect and solidarity with their family, friends and colleagues.”

Taracena rose to international fame in 2006 with his role as Middle Eye in Mel Gibson’s Apocalypto. He also appeared in films including Saving Private Perez, El Violin, Sound of Freedom and Surviving My Quinceañera.

He later became widely known for portraying drug smuggler Pablo Acosta in Narcos: Mexico, a follow-up to Narcos that focused on Mexico’s infamous Guadalajara Cartel during the 1980s. It ran for three seasons between 2018 and 2021.

Taracena also appeared in the U.S. drama series Queen of the South and Netflix’s Pedal to the Metal.

Ayra Starr made this known while speaking with Love Island USA star Chelley Bissainthe during a Billboard interview about her nomination for the 2026 Grammy.

While tagging it a moment of reassurance in her career, Ayra Starr said, “I am very grateful that I’m actually a two-time Grammy nominee. The first time I was nominated, it was like, “Oh my God, I got nominated.”

“But the second time, I was like, maybe I need to trust God and myself a bit more. I have collaborated with many people, and I still want to collaborate with more people. But everyone knows Burna Boy is like my number one person I want to collaborate with”, she said.

The songstress earned a Grammy nomination for Best African Music Performance for ‘Gimme Dat’ with Wizkid, released in April 2025.

The nominations were announced in November 2025 ahead of the February 1, 2026, Grammy Awards ceremony.

Reacting to the recognition, the singer described the nomination as a reassuring moment in her career.

Speaking on Hitz Praise Zone with host Nii Noi, Joe Mettle explained, “I won’t be available on the date scheduled for the 2026 awards, so I will be taking a break from the event this year.” He added, “This is only for this edition. It doesn’t mean I am stepping away from TGMA permanently.”

As part of the break, the multiple award-winning singer will not submit any of his works for nomination consideration nor participate in any activities related to the awards ceremony. He confirmed that Charterhouse, the organisers of TGMA, have been formally informed and have acknowledged his position.

Reflecting on his career, Joe Mettle recalled a landmark moment in 2017 when he won VGMA Artiste of the Year, beating competition from artists including Sarkodie, EL, Medikal, Stonebwoy, and MzVee.

“That win was not just for me,” he said. “It was a victory for the entire gospel music family in Ghana, proving that our voices and our work matter on the national stage.”

He also highlighted the growing influence of gospel music in the awards space, noting that four years later, in 2021, fellow gospel artiste Diana Hamilton claimed the ultimate award.

Joe Mettle’s temporary pause comes as he focuses on other creative projects, promising fans that he will return stronger for future editions of TGMA.

ALSO READ:

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The record blends tradition, live instrumentation, and cultural storytelling—the elements that once defined Ghana’s most celebrated sound.

For decades, highlife music has gradually slipped from the mainstream spotlight, overshadowed by modern genres and evolving industry trends. Yet its essence, deeply rooted in Ghana’s history, identity, and communal spirit, has never truly disappeared. “Twimasi” emerges as a bold reminder that highlife still holds relevance, depth, and global appeal.

The project is a collaborative effort led by Mistacii, alongside Gyasehene Fire Man and the Odikro International Band, united by a shared mission to restore the soul of authentic Ghanaian music. Built on live band arrangements, warm melodies, and meaningful lyrical expression, “Twimasi” reflects the true spirit of classic highlife while resonating with today’s audience.

Speaking on the vision behind the release, Gyasehene described the song as more than just music, calling it “a revival, a homecoming, and a gift to the world.”

He added that “Twimasi” is intended to reintroduce global audiences to Ghana through its rhythms, stories, and cultural pride, while reigniting appreciation for a genre that shaped generations.

With fire-and-water-themed artwork and the bold declaration that “Highlife Is Back,” “Twimasi” symbolizes renewal, resilience, and cultural pride. The release also underscores OGYA DAM WORLDWIDE Entertainment’s commitment to promoting heritage music and supporting live band artistry on both local and international stages.

Listen here: https://youtu.be/ZMdMmW_Jdsg

In a reflective commentary, the singer noted that while many men admire female celebrities from afar, they rarely take the step forward—not due to lack of interest, but because of the pressures that come with dating someone in the public eye.

According to Sista Afia, the demanding lifestyle of female musicians—including late nights, studio sessions, tours, and frequent travel—can be overwhelming for men who prefer routine and stability. She explained that loving a celebrity often means sharing time with a career, an audience, and a public calling.

She also highlighted the intense scrutiny surrounding celebrity relationships, a reality she believes not every man is emotionally equipped to handle.

“Every move is watched. Every mistake is amplified. Every relationship becomes a topic for discussion. Not every man is prepared to love loudly in a world that constantly whispers, judges, and speculates,” she said.

Sista Afia further pointed to financial perceptions as another challenge, noting that fame does not always guarantee financial stability. This, she said, can create additional pressure, particularly in societies where men are culturally expected to provide financial security.

Beyond fame, the singer emphasized that female celebrities are still human beings who desire genuine love, emotional safety, and loyalty—not admiration or competition.

She encouraged men not to be intimidated by celebrity status, urging them to show sincerity and emotional support rather than shrinking themselves.

“We don’t need perfection. We need presence. We don’t need intimidation; we need courage. Don’t be scared of us,” she pleaded.

She received the honour in recognition of her leadership and influence in promoting culture, heritage and global cultural exchange. The awards form part of Grammy Week activities, which bring together cultural leaders, creatives, policymakers and global change-makers from around the world.

The ceremony also celebrated excellence in social impact, creative leadership, justice advocacy, community development and humanitarian service.

The event was jointly organised by JOBSEEK AI, the Los Angeles County Justice Care and Opportunity Department, Prison Professors, PBCG, ANE Foundation, Only Miracles, The Help In Hand Project and Taking Action for Good. The coalition supports empowerment, inclusion, innovation and positive global impact.

Ms Houadjeto attended the ceremony with GTA Board member Prince Anthony and Director of Corporate Affairs Bright Asempa Tsadidey, underscoring the institutional significance of the award and the Authority’s unified leadership presence at the international event.

In her acceptance speech, Ms Houadjeto expressed gratitude to the organisers and used the opportunity to highlight Ghana’s cultural strengths while inviting the global community to experience the country.

“I am deeply honoured and grateful to the organisers for this recognition. This award is not just personal; it is a celebration of Ghana’s rich culture and heritage. I warmly invite you to Ghana to experience our culture firsthand and enjoy the evergreen hospitality of the Ghanaian people,” she said.

The Global Cultural Ambassador Award reflects Ghana’s growing visibility on the global cultural and tourism stage and underscores the Ghana Tourism Authority’s commitment to cultural diplomacy, destination branding and sustainable tourism development.

The recognition also aligns with Ghana’s broader cultural and creative economy agenda, positioning the country as a welcoming hub for authentic cultural experiences, global collaboration and meaningful cultural exchange.

This report is accompanied by photographs from the award ceremony in Los Angeles.

Asked about the possibility of hosting a version of her annual Awake Experience at the venue, she said her management team was weighing several factors before they would make a decision.

Speaking to Kwame Dadzie and Doreen Avio on Hitz FM’s Daybreak Hitz, Diana said the O2 Arena comes with a number of conditions that must be carefully factored into planning.

“The only thing with O2 is that you know when we do these events, we get content out of that. How many O2 events have you seen content from that put out? The laws of those venues do not allow for you to own the film of that place,” she said.

She further claimed that gospel artistes who want to stage shows at the arena are made to pay significantly more than their secular counterparts.

“Whatever they will charge secular artistes to do O2, secular artistes will be charged more than double of that and I will tell you why: because you don’t sell alcohol,” she said.

The O2 Arena in London is one of the major venues many Ghanaian event organisers have aimed to fill over the years.

Meanwhile, Diana Hamilton is preparing for her annual Awake Experience concert scheduled for 15th February 2026 at ICGC Christ Temple, East Teshie. The Kumasi edition will take place on 22nd February 2026 at the Church of Pentecost, Bantama.

This year’s ceremony spotlighted both established stars and breakthrough talents, reflecting the evolving sound of contemporary music.

With memorable performances and surprise wins, the 2026 Grammys once again underscored excellence in artistry, songwriting and production.

Check out full list of winners

The “big four” awards

Song of the year

• Winner: Billie Eilish – Wildflower
• Lady Gaga – Abracadabra
• Doechii – Anxiety
• Rosé & Bruno Mars – APT
• Bad Bunny – DtMF
• Hunter/x – Golden
• Kendrick Lamar feat SZA – Luther
• Sabrina Carpenter – Manchild

Record of the year

• Winner: Kendrick Lamar feat SZA – Luther
• Bad Bunny – DtMF
• Sabrina Carpenter – Manchild
• Doechii – Anxiety
• Billie Eilish – Wildflower
• Lady Gaga – Abracadabra
• Chappell Roan – The Subway
• Rosé & Bruno Mars – APT

Album of the year

• Winner: Bad Bunny – Debí Tirar Más Fotos
• Justin Bieber – Swag
• Sabrina Carpenter – Man’s Best Friend
• Clipse – Let God Sort Em Out
• Lady Gaga – Mayhem
• Kendrick Lamar – GNX
• Leon Thomas – Mutt
• Tyler, the Creator – Chromakopia

Best new artist

• Winner: Olivia Dean
• Katseye
• The Marias
• Addison Rae
• Sombr
• Leon Thomas
• Alex Warren
• Lola Young

Pop and dance

Best pop vocal album

• Winner: Lady Gaga – Mayhem
• Justin Bieber – Swag
• Sabrina Carpenter – Man’s Best Friend
• Miley Cyrus – Something Beautiful
• Teddy Swims – I’ve Tried Everything But Therapy Pt 2

Best pop solo performance

• Winner: Lola Young – Messy
• Justin Bieber – Daisies
• Sabrina Carpenter – Manchild
• Lady Gaga – Disease
• Chappell Roan – The Subway

Best pop duo/group performance

• Winner: Cynthia Erivo & Ariana Grande – Defying Gravity
• Huntr/x – Golden
• Katseye – Gabriela
• Rosé & Bruno Mars – APT
• SZA With Kendrick Lamar – 30 For 30

Best dance/electronic recording

• Winner: Tame Impala – End Of Summer
• Disclosure & Anderson .Paak – No Cap
• Fred again.., Skepta, & PlaqueBoyMax – Victory Lap
• Kaytranada – Space Invader
• Skrillex – Voltage

Best dance/electronic album

• Winner: FKA Twigs – Eusexua
• Fred again.. – Ten Days
• PinkPantheress – Fancy That
• Rüfüs Du Sol – Inhale / Exhale
• Skrillex – F*** U Skrillex You Think Ur Andy Warhol But Ur Not!! <3

Best dance/pop recording

• Winner: Lady Gaga – Abracadabra
• Selena Gomez & Benny Blanco – Bluest Flame
• Zara Larsson – Midnight Sun
• Tate McRae – Just Keep Watching
• PinkPantheress – Illegal

Best traditional pop vocal album

• Winner: Laufey – A Matter Of Time
• Laila Biali – Wintersongs
• Jennifer Hudson – The Gift Of Love
• Elton John & Brandi Carlile – Who Believes In Angels?
• Lady Gaga – Harlequin
• Barbra Streisand – The Secret Of Life: Partners, Volume 2

Latin

Best Latin pop album

• Winner: Natalia Lafourcade – Cancionera
• Rauw Alejandro – Cosa Nuestra
• Andrés Cepeda – Bogotá (Deluxe)
• Karol G – Tropicoqueta
• Alejandro Sanz – ¿Y ahora qué?

Best música urbana album

• Winner: Bad Bunny – DeBÍ TiRAR MáS FOToS
• J Balvin – Mixteip
• Feid – Ferxxo Vol X: Sagrado
• Nicki Nicole – Naiki
• Trueno – Eub Deluxe
• Yandel – Sinfónico (En Vivo)

Rock and metal

Best rock performance

• Winner: Yungblud ft Nuno Bettencourt, Frank Bello, Adam Wakeman, II – Changes (Live From Villa Park) Back To The Beginning
• Amyl and The Sniffers – U Should Not Be Doing That
• Linkin Park – The Emptiness Machine
• Turnstile – Never Enough
• Hayley Williams – Mirtazapine

Best rock song

• Winner: Nine Inch Nails – As Alive As You Need Me To Be
• Sleep Token – Caramel
• Hayley Williams – Glum
• Turnstile – Never Enough
• Yungblud – Zombie

Best rock album

• Winner: Turnstile – Never Enough
• Deftones – Private Music
• Haim – I Quit
• Linkin Park – From Zero
• Yungblud – Idols

Best alternative music album

• Winner: The Cure – Songs Of A Lost World
• Bon Iver – Sable, Fable
• Tyler, The Creator – Don’t Tap the Glass
• Wet Leg – Moisturizer
• Hayley Williams – Ego Death At A Bachelorette Party

Best alternative music performance

• Winner: The Cure – Alone
• Bon Iver – Everything Is Peaceful Love
• Turnstile – Seein’ Stars
• Wet Leg – Mangetout
• Hayley Williams – Parachute

Best metal performance

• Winner: Turnstile – Birds
• Dream Theater – Night Terror
• Ghost – Lachryma
• Sleep Token – Emergence
• Spiritbox – Soft Spine

Rap

Best rap performance

• Winner: Clipse, Pusha T & Malice feat Kendrick Lamar & Pharrell Williams – Chains & Whips
• Cardi B – Outside
• Doechii – Anxiety
• Kendrick Lamar feat Lefty Gunplay – TV Off
• Tyler, The Creator feat Teezo Touchdown – Darling, I

Best melodic rap performance

• Winner: Kendrick Lamar with SZA – Luther
• Fridayy feat Meek Mill – Proud Of Me
• JID feat Ty Dolla $ign & 6Lack – Wholeheartedly
• Terrace Martin & Kenyon Dixon feat Rapsody – WeMaj
• Partynextdoor & Drake – Somebody Loves Me

Best rap song

• Winner: Kendrick Lamar feat Lefty Gunplay – TV Off
• Doechii – Anxiety
• Clipse, Pusha T & Malice feat John Legend & Voices of Fire – The Birds Don’t Sing
• Tyler, The Creator feat GloRilla, Sexyy Red & Lil Wayne – Sticky
• GloRilla – TGIF

Best rap album

• Winner: Kendrick Lamar – GNX
• Clipse, Pusha T & Malice – Let God Sort Em Out
• GloRilla – Glorious
• JID – God Does Like Ugly
• Tyler, The Creator – Chromakopia

Country

Best country solo performance

• Winner: Chris Stapleton – Bad As I Used To Be
• Tyler Childers – Nose On The Grindstone
• Shaboozey – Good News
• Zach Top – I Never Lie
• Lainey Wilson – Somewhere Over Laredo

Best country duo/group performance

• Shaboozey & Jelly Roll – Amen
• Miranda Lambert and Chris Stapleton – A Song To Sing
• Reba McEntire, Miranda Lambert, Lainey Wilson – Trailblazer
• Margo Price & Tyler Childers – Love Me Like You Used To Do
• George Strait & Chris Stapleton – Honky Tonk Hall Of Fame

Best country song

• Winner: Tyler Childers – Bitin’ List
• Shaboozey – Good News
• Zach Top – I Never Lie
• Lainey Wilson – Somewhere Over Laredo
• Chris Stapleton – A Song To Sing

Best contemporary country album

• Jelly Roll – Beautifully Broken
• Kelsea Ballerini – Patterns
• Tyler Childers – Snipe Hunter
• Eric Church – Evangeline vs The Machine
• Miranda Lambert – Postcards From Texas

R&B and Afrobeats

Best R&B performance

• Winner: Kehlani – Folded
• Justin Bieber – Yukon
• Chris Brown feat Bryson Tiller – It Depends
• Leon Thomas – Mutt (Live From NPR’s Tiny Desk)
• Summer Walker – Heart Of A Woman

Best R&B song

• Winner: Kehlani – Folded
• Summer Walker – Heart Of A Woman
• Chris Brown feat Bryson Tiller – It Depends
• Durand Bernarr – Overqualified
• Leon Thomas – Yes It Is

Best R&B album

• Winner: Leon Thomas – Mutt
• Giveon – Beloved
• Coco Jones – Why Not More?
• Ledisi – The Crown
• Teyana Taylor – Escape Room

Best African music performance

• Winner: Tyla – Push 2 Start
• Burna Boy – Love
• Davido feat Omah Lay – With You
• Eddy Kenzo & Mehran Matin – Hope & Love
• Ayra Starr feat Wizkid – Gimme Dat

Production and songwriting

Producer of the Year, Non-Classical

• Winner: Cirkut (Lady Gaga, Rosé, Jade)
• Dan Auerbach
• Dijon
• Blake Mills
• Sounwave

Songwriter of the Year, Non-Classical

• Winner: Amy Allen (Rosé, Jennie, Sabrina Carpenter)
• Edgar Barrera
• Jessie Jo Dillon
• Tobias Jesso Jr
• Laura Veltz

K-Pop Demon Hunters makes history as Grammys get underway

Grammy Awards 2026: How to watch and who will win

Film and TV

Best comedy album

• Winner: Nate Bargatze – Your Friend, Nate Bargatze
• Bill Burr – Drop Dead Years
• Sarah Silverman – PostMortem
• Ali Wong – Single Lady
• Jamie Foxx – What Had Happened Was

Best compilation soundtrack for visual media

• Winner: Sinners – Various artists
• A Complete Unknown – Timothée Chalamet
• F1 The Album – Various artists
• K-Pop Demon Hunters – Various artists
• Wicked – Various artists

Best score soundtrack for visual media (includes film and televison)

• Winner: Ludwig Göransson – Sinners
• John Powell – How To Train Your Dragon
• Theodore Shapiro – Severance: Season 2
• John Powell & Stephen Schwartz – Wicked
• Kris Bowers – The Wild Robot

Best score soundtrack for video games and other interactive media

• Winner: Austin Wintory – Sword of the Sea
• Pinar Toprak – Avatar: Frontiers of Pandora – Secrets of the Spires
• Wilbert Roget II – Helldivers 2
• Gordy Haab – Indiana Jones and the Great Circle
• Cody Matthew Johnson & Wilbert Roget II – Star Wars Outlaws: Wild Card & A Pirate’s Fortune

Best song written for visual media

• Winner: Huntr/x – Golden (From K-Pop Demon Hunters)
• Nine Inch Nails – As Alive As You Need Me To Be (From Tron: Ares)
• Miles Caton – I Lied To You (From Sinners)
• Elton John & Brandi Carlile – Never Too Late (From Elton John: Never Too Late)
• Jayme Lawson – Pale Pale Moon (From Sinners)
• Rod Wave – Sinners (From Sinners)

Best audiobook narration

• Winner: Dalai Lama – Meditations: The Reflections Of His Holiness The Dalai Lama
• Kathy Garver – Elvis, Rocky & Me: The Carol Connors Story
• Trevor Noah – Into The Uncut Grass
• Ketanji Brown Jackson – Lovely One: A Memoir
• Fab Morvan – You Know It’s True: The Real Story Of Milli Vanilli

Best music video

• Winner: Doechii – Anxiety
• Sade – Young Lion
• Sabrina Carpenter – Manchild
• Clipse – So Be It
• OK Go – Love

Best music film

• Winner: John Williams – Music by John Williams
• Devo – Devo
• Raye – Live at the Albert Hall
• Diane Warren – Relentless
• Pharrell Williams – Piece By Piece

Jazz and classical

Best jazz vocal album

• Winner: Samara Joy – Portrait
• Dee Dee Bridgewater & Bill Charlap – Elemental
• Terri Lyne Carrington & Christie Dashiell – We Insist 2025!
• Michael Mayo – Fly
• Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth – Live at Vic’s Las Vegas

Best jazz instrumental album

• Winner: Sullivan Fortner feat Peter Washington & Marcus Gilmore – Southern Nights
• Chick Corea, Christian McBride & Brian Blade – Trilogy 3 (Live)
• Branford Marsalis Quartet – Belonging
• John Patitucci feat Chris Potter & Brian Blade – Spirit Fall
• Yellowjackets – Fasten Up

Best alternative jazz album

• Winner: Nate Smith – Live-Action
• Ambrose Akinmusire – Honey from a Winter Stone
• Robert Glasper – Keys To The City Volume One
• Brad Mehldau – Ride Into The Sun
• Immanuel Wilkins – Blues Blood

Best jazz performance

• Winner: Chick Corea, Christian McBride & Brian Blade – Windows (Live)
• Lakecia Benjamin feat Immanuel Wilkins & Mark Whitfield – Noble Rise
• Samara Joy – Peace Of Mind/Dreams Come True
• Michael Mayo – Four
• Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth – All Stars Lead To You (Live)

Best musical theatre album

• Winner: Buena Vista Social Club
• Death Becomes Her
• Gypsy
• Just In Time
• Maybe Happy Ending

Best opera recording

• Winner: Heggie: Intelligence – Kwamé Ryan, conductor (Houston Grand Opera; Gene Scheer)
• Huang Ruo: An American Soldier – Carolyn Kuan, conductor (American Composers Orchestra; David Henry Hwang)
• Kouyoumdjian – Adoration Alan Pierson, conductor (Silvana Quartet; The Choir Of Trinity Wall Street)
• O’Halloran: Trade & Mary Motorhead – Elaine Kelly (Irish National Opera Orchestra; Mark O’Halloran)
• Tesori: Grounded – Yannick Nézet-Séguin, conductor (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus; George Brant)

Best orchestral performance

• Winner: Messiaen: Turangalîla-Symphonie – Andris Nelsons, conductor (Boston Symphony Orchestra)
• Coleridge-Taylor: Toussaint L’Ouverture; Ballade Op. 4; Suites From ’24 Negro Melodies’ – Michael Repper, conductor (National Philharmonic)
• Ravel: Boléro – Gustavo Dudamel, conductor (Simón Bolívar Symphony Orchestra Of Venezuela)
• Still & Bonds – Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
• Stravinsky: Symphony In Three Movements – Esa-Pekka Salonen, conductor (San Francisco Symphony)

1. Cold Storage

David Koepp is one of Hollywood’s busiest screenwriters. Among his many other credits, he has scripted a Mission: Impossible film and a Spider-Man film, three recent Steven Soderbergh thrillers (Kimi, Presence and Black Bag), and several Steven Spielberg blockbusters, including War of the Worlds and the forthcoming Disclosure Day. If that weren’t enough, he’s also found time to write two novels, beginning with 2019’s Cold Storage. And, inevitably, it’s been made into a film, too – a slime-drenched horror comedy that Koepp himself has scripted. Joe Keery and Georgina Campbell star as two young security guards at a self-storage facility with a dangerous secret. Deep beneath the ground are the remains of a defunct military base where a mutant fungus has been kept in check by the near-freezing temperature. But as the planet has warmed up, the fungus has woken up, and now it’s bursting out of the earth to turn everyone it touches into a ravenous zombie. Can an army boffin played by Liam Neeson save the day?

Released on 6 February in the UK and Ireland, and on 13 February in the US and Canada

2. The President’s Cake

Iraq, 1997. President Saddam Hussein is about to celebrate his 60th birthday, and the Iraqi people have to celebrate it, too – whether they want to or not. Nine-year-old Lamia (Baneen Ahmad Nayyef) is assigned the job of baking a cake for her classmates in a rural school, but, after years of US sanctions, she and her grandmother (Waheed Thabet Khreibat) are too broke to buy eggs, flour and sugar. They take a day trip to the bustling city to barter for and borrow whatever they can but they’re soon separated, and Lamia has to fend for herself, with only her pet cockerel for company. Written and directed by Hasan Hadi, The President’s Cake is a heart-wrenching child’s-eye view of life in a crumbling totalitarian state. “From the pastoral beauty of its opening sequence to the gut punch of its last, Hadi’s film is an exceptional screen debut,” says Sheri Linden in The Hollywood Reporter, “as perceptive as it is kinetic and, with one eye on the bombers overhead, brimming with life”.

Released on 6 February in the US and Spain, and on 13 February in the UK and Ireland

3. Pillion

In US cinemas just in time for Valentine’s Day, Pillion is a romantic comedy drama with a difference. Harry Melling (Dudley Dursley in the Harry Potter films) plays Colin, a shy parking attendant whose social life amounts to singing in a close-harmony quartet with his dad (Douglas Hodge). Then he meets Ray (Alexander Skarsgård), the hunky leader of a motorcycle gang, and finds himself in an intense sexual relationship. But is he being liberated or exploited? Adapted from a novella by Adam Mars-Jones, Harry Lighton’s directorial debut is daringly explicit, but also strangely sweet. And it could become a “classic”, says the BBC’s Martha Henriques. “Tackling themes of grief and belonging, Pillion takes in the kinky paraphernalia of harnesses, wrestling and revving engines, while never losing sight of its emotional core: two people working out an unconventional romantic path.” 

Released on 6 February in the US and Sweden, 12 February in Brazil, and 19 February in Australia

4. “Wuthering Heights”

Emerald Fennell is the writer-director of two hyper-stylish comedy thrillers, Promising Young Woman and Saltburn, so when she announced that she was adapting Emily Brontë’s Wuthering Heights, not everyone was pleased. She didn’t seem like the obvious fit for a beloved classic of 19th-Century literature. And Margot Robbie and Jacob Elordi didn’t seem like the obvious actors to play the teenage Cathy and Heathcliff. Then, more recently, there was Fennell’s contentious decision to put the film’s title in quotation marks. (It’s her way of emphasising that the film is an interpretation of the book, not the book itself, apparently.) But as the months passed, and the torrid trailers came out, much of that early scepticism was replaced by excitement: “Wuthering Heights” looks as if it might be a decadent delight. Besides, it’s made by someone who has been obsessed by the novel for 25 years. “I wanted to make something that was the book that I experienced when I was 14,” Fennell said at the Brontë Women’s Writing Festival last September, “which means that it’s an emotional response to something. It’s primal, sexual. It’s completely singular.”

Released on 11, 12 and 13 February in cinemas internationally

5. GOAT

Ever since the acronym GOAT was applied to any athlete who was the “Greatest Of All Time”, it was only a matter of time before a cartoon had a GOAT who was also a goat. Sure enough, this new Sony animation tells the tale of Will (voiced by Caleb McLaughlin from Stranger Things), a teenage goat who wants to excel at professional roarball, ie the equivalent of basketball in a Zootopia-like world of talking animals. The trouble is that when Will joins a team, he is half the size of his team-mates: a panther, a rhino, a giraffe and an ostrich. The film is co-produced by NBA superstar Stephen Curry, who, at 6ft 2in (1.88m), is pretty small for a basketball player himself. “We look forward to uplifting audiences with diverse characters and heartwarming storylines that will have you rooting for the underdog,” said Curry. But wait – can a goat be an underdog? 

Released on 11, 12 and 13 February in cinemas internationally

6. Good Luck, Have Fun, Don’t Die

The director of the first three Pirates of the Caribbean films, Gore Verbinski used to be Hollywood’s go-to guy for elaborate blockbuster action with a hint of anarchic weirdness. But his last two films, The Lone Ranger and A Cure for Wellness, both flopped, and he hasn’t had a new release in cinemas since 2016. Now at last Verbinski has returned with a gonzo science-fiction comedy thriller scripted by Matthew Robinson (The Invention of Lying). Sam Rockwell stars as a man who zips to the present day from the near future to save humanity from a rogue AI. He materialises in a Los Angeles diner and attempts to recruit the customers (Haley Lu Richardson, Michael Peña, Zazie Beetz and Juno Temple). But his plan has failed hundreds of times already, so he keeps having to time-travel back and try again. “Good Luck, Have Fun, Don’t Die is a great movie,” says Alan Ng at Film Threat. “It offers laughs, thrills, and it’s a thinker; you will not be disappointed.”

Released on 13 February in the US and on 20 February in the UK and Ireland

7. How to Make a Killing

How to Make a Killing is inspired by a classic British comedy from 1949, Kind Hearts and Coronets. In the original film, a poor young man named Louis (Dennis Price) is bitter that his mother was disowned by her aristocratic family. After she dies, Louis realises that he can still inherit a fortune if he assassinates his rich relatives (who are all played by Alec Guinness). The updated version, written and directed by John Patton Ford (Emily the Criminal), stars Glen Powell as Becket Redfellow. He’s in the same situation as Louis, so he decides to “prune a few branches from the family tree”, as he says in the trailer – although this time his relatives aren’t British toffs but American Succession types, played by Ed Harris and Topher Grace among others. Margaret Qualley co-stars as an old friend of Becket’s who could be persuaded that crime does pay – especially if it pays $28 billion.

Released on 20 February in the US and Canada, and on 27 February in the UK and Ireland

8. Scream 7

Neve Campbell dropped out of 2023’s Scream VI because of a salary dispute, but she’s back as the series’ regular heroine, Sidney Prescott, in Scream 7. Also returning to the slasher franchise after a long break is its creator, Kevin Williamson, who has co-written and directed its latest instalment. Scream 7 could be a kind of reset, then. After the last film’s New York-set bloodshed, this one is set in an all-American small town, where Sidney is living quietly with her husband (Joel McHale) and daughter (Isabel May)… until, that is, a masked serial killer turns up. “The company pitched it to me because they said, ‘This is going to be about Sidney Prescott.’ That’s why I would want to do it,” Williamson said at the ATX TV Festival. “Working with Neve, we did it together. She was with me every step of the way, and she was so supportive and so helpful. We had a blast.”

Released on 27 February in the US, the UK and Canada

9. EPiC: Elvis Presley in Concert

When Baz Luhrmann was researching his Elvis biopic, he unearthed dozens of boxes of unseen documentary footage. Much of it concerned Presley’s residencies in Las Vegas following his 1968 comeback special: there were interviews, rehearsals, and hours of outtakes from his two 1970s concert films. Now Luhrmann has restored and edited this footage to make a brand new concert film – and it could lead us to reassess Presley’s later career. Watching EPiC will match going to “the greatest concert you ever saw”, promises Owen Gleiberman in Variety. “The movie is a revelation, because for 96 minutes it shows you just how intoxicating Elvis Presley was when he began to perform live in Las Vegas in 1969 and the early ’70s… The power of Elvis’s voice remained undiminished – it soared, it quavered, it caressed, it boomed, it rocked, it hit every note with singular beauty.” 

Released on 27 February in the US and the UK

10. Dreams

Michel Franco’s dark romantic drama stars Jessica Chastain as a wealthy San Francisco socialite who runs a charitable arts foundation in Mexico. The last time she visited Mexico City, she had a passionate affair with a dancer, played by Isaac Hernández (a real-life ballet star), so when he sneaks into the US in the back of a lorry, he assumes that she will be pleased to see him. But he soon learns that philanthropy has strict limits. For her, supporting the arts in another country is a far cry from being seen in your own hometown with someone of a different nationality and social class. “Gripping, chilling, and startlingly bleak, [Dreams has] a thrillingly scabrous socio-political dimension that will leave audiences gasping,” says Matthew Turner at Next Best Picture. “Terrific performances, pulse-pounding eroticism, and a devastating critique of the ultra-rich combine to make this a must-see.” 

Released on 27 February in the US and Canada

Speaking during a recent engagement, President Mahama shared his light-hearted reaction to the streamer’s visit to the Shea Butter Museum in Accra, an experience that has since become a global case study in cultural marketing and tourism.

He made the remark at the launch of the SheaPark Resource Hub Project in Wa.

President Mahama revealed that his children were all excited about the visit of the 21-year-old content creator, whose real name is Darren Watkins Jr.

One of his children showed him a clip of Speed at the museum, which is owned by Ghanaian entrepreneur and former beauty queen Hamamat Montia.

“Recently, my children were all excited about some young man from America called IShowSpeed, who came to Ghana,” Mahama said with a chuckle. “And one of my children showed me a video of him in a shea butter museum of some sort.”

The President was particularly amused by the sight of Speed undergoing an intensive shea butter massage—a session that saw the streamer visibly overwhelmed by the sensation.

“I saw him lying down, and about 10 girls, all with shea butter, were massaging this boy. And the way he was enjoying it, he opened his mouth as if he couldn’t breathe. That guy, I’m sure he’ll come back here,” President Mahama predicted.

Beyond the comedy of the moment, the visit sparked a sense of nostalgia for the former President.

He noted that the museum, which promotes northern Ghanaian heritage, brought back memories of traditional games and songs from his youth.

While Mahama viewed the visit through a fatherly lens, tourism experts have dubbed it the “IShowSpeed Effect”.

The streamer’s visit to Ghana on January 26, 2026, was a massive logistical feat that included:

• Cultural Immersion: Receiving the Akan name Barima Kofi Akuffo during a ceremony in Akropong.
• Viral Stunts: A daring backflip at Independence Square and a sparring session at the Bukom Boxing Arena.
• Global Exposure: His flight from Akropong to Accra became the most tracked flight worldwide on Flightradar24, with over 3,000 people monitoring his helicopter journey.

The impact has been so significant that Ghana’s Foreign Ministry reportedly approved a Ghanaian passport for the YouTuber, citing his “irrefutable ties” to the country through his mother’s ancestry.

The Shea Butter Museum, which recently hit maximum capacity following the feature, has been praised for transforming a local commodity into a symbol of luxury and heritage.

Hamamat Montia ensured Speed was treated as a “cultural guest”, showcasing 21 unique types of shea butter from across Africa.

As President Mahama noted, the sheer “enjoyment” displayed by the global superstar has likely cemented Ghana as a top-tier destination for a new generation of travellers.

The incident occurred around 10:30 a.m. UTC on January 30, when videos circulating online showed Showboy in a tense standoff with officers who had entered his residence.

In the footage, Showboy can be heard shouting, “Leave my house,” while questioning the officers’ authority and demanding proper documentation before complying. Later clips showed him defiant in a car, although the police had yet to release an official statement.

Responding to reports about his arrest, Showboy said, “It is never true that they came to arrest me for blackmail.

Seven police officers came to arrest me for ‘publication of false news.’ My lawyer asked them what news I published that was false, and they could not provide an answer. I told them to go to a judge; if the judge believes their claim, then a warrant would be issued. No warrant, no arrest.”

The incident has sparked online debate, with critics questioning the police action and raising concerns about freedom of expression and due process in Ghana.

The incident occurred around 10:30 a.m., when a team of seven CID officers reportedly entered Showboy’s home. Videos from the scene, captured during the rapper’s live TikTok broadcast, show him refusing to leave and demanding proper documentation before complying.

“With no warrant, I’m not following you to the police station. You invade my private residence, and I ask you for the warrant of arrest and you show me your ID card,” Showboy told the officers.

Supporters watching the live feed questioned the legality of the raid, as the rapper continued to insist that the police produce a judicial warrant.

Earlier reports suggested that Showboy was being arrested for blackmail, but he has denied these claims. He stated that the officers came to detain him for “publication of false news,” yet neither he nor his lawyer had been informed of the specific content in question.

Showboy insisted that without a warrant from a judge, the arrest was unlawful.

No official statement has yet been issued by the police regarding the raid or the outcome of the attempted arrest.

The gifted musician, who is on the autism spectrum, delivered a breathtaking performance that showcased technical brilliance and emotional depth far beyond his years.

Blending classical mastery with contemporary flair, Jude navigated the keys with remarkable precision, drawing a standing ovation from an audience packed with celebrities, industry leaders and distinguished guests.

Watch the entralling video below:

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The Mr Money crooner reached a milestone of 60 entries on the chart as his collaborative hit with Wizkid, Jogodo, peaked at number four this week.

Meanwhile, South African singer Tyla continued her dominance on the chart, with her song Channel holding onto the number one spot.

Tyla was also named the top Afrobeats artist for 2025. Her previous hit, Water, set the record for the longest-running number-one song on the chart, spending 55 weeks at the top.

In other news, Nigerian singer Burna Boy earned his first top 20 hit on the Billboard Hot 100 this week with his feature on Gunna’s track WGFT. The song reached a new peak at number 16 following a remix featuring Chris Brown.

Burna Boy also became the first African artist to debut a song on the Billboard Hot 100 for five consecutive years, from 2021 to 2025.

Walking the runway in a colourful African print, her prosthetic leg wrapped, her appearance made a big impact.

The Ghanaian-American was hoping to make a statement about the visibility of people with disabilities, building on years of work in the US and here in Ghana of speaking out on the issue.

At two years old, Abena’s life became defined by a challenge most adults would struggle to face.

A large tumour had appeared on her right calf, the first sign of a rare, aggressive soft-tissue cancer, rhabdomyosarcoma. Doctors presented her mother with a difficult choice: radiation, which could have left her dependent on a wheelchair, or amputation. Her mother chose the latter.

“It was the best decision she could have made,” Abena says today without hesitation, speaking to the BBC surrounded by friends and family at a restaurant in the Ghanaian capital, Accra.

She now lives in Ghana, but she grew up in Chicago in the US.

Even before she understood what cancer was, her early life was shaped by treatment and recovery. Movement became a way to measure survival and rebuild confidence. In a way, it was taking ownership of a body that had been through so much.

But when she speaks about her younger years, it is not the cliché story of the inspirational disabled child sometimes presented in glossy campaigns: a compliant person bravely but silently triumphing against adversity.

She rejects that stereotype entirely.

“People imagine disabled kids as straight-A students who are sweet, quiet and perfect,” she says.

“I was the opposite. I was loud, I was a little black girl running around on one leg, I did not let anyone push me around, and I was struggling through school.”

Her disability never softened her personality; it sharpened it.

And that sharpness, what she now jokingly describes as her “professionally inspirational” energy, is the very thing that would later carry her through life.

In the US, she worked as a writer – initially as a poet – and later became a public speaker who spoke about her life experiences, hoping to inspire people.

She wanted people to see what she was accomplishing and to “let me hold a mirror so you can see yourself and what you can accomplish if you believe”.

Long before she dabbled with public speaking or modelling, Abena felt a pull towards Africa, a feeling she could not articulate but could not ignore.

As a young adult in the US, she immersed herself in books on the history of Africa before colonialism, particularly West Africa. The more she read, the stronger the pull became.

But her first visit to Ghana in 2021 changed everything.

In the central region of Ghana, standing at the Assin Manso slave river site – where enslaved people were sold before travelling about 40km (25 miles) south to the coast – she experienced what she describes as “a moment that rearranged my entire understanding of myself”.

The weight of history met the weight of belonging, forming a sense of identity she had never felt growing up in the US.

When she returned, she fell into a deep depression.

“It felt like I had finally found a missing part of myself in Ghana,” she says.”Leaving felt like being torn away from somewhere my soul belonged.”

Three months later, she packed her bags and moved permanently.

Ghana embraced her in ways she still struggles to describe.

“I am Ghanaian by ancestry and adoption,” she says with pride.

Over the four years she has lived in Accra, Ghanaians have claimed her in the way only Ghana knows how, with warmth, with teasing, with family, and with names. She now lives with a Ghanaian mother who introduces her as her own daughter.

“My Ghanaian identity is not pretend,” she says. “It is not cosplay. It is ancestral. Like Kwame Nkrumah said: ‘I am not African because I was born in Africa, but because Africa was born in me.’ That is exactly what Ghana is to me.”

Her prosthetic leg itself is a declaration of that love.

Wrapped in Kente, it is as much a cultural symbol as a mobility aid.

“It always has been, and always will be, kente,” she says. “It represents my love for this country, its heritage, its pride.”

Living with a disability in Ghana has brought a new mission into her life, one that goes far beyond personal expression.

For Abena, the difference between how disabled people are treated in the US and Ghana comes down to visibility and access.

“In the States, progress is happening, slowly, imperfectly, but happening. Disabled people are being invited into more spaces,” she explains. “It is still ableist, but at least there is an attempt to change the narrative.”

Ghana, she says, is still at the beginning of that journey. Not for lack of compassion, but for lack of representation.

After her move, she continued to speak out for the rights of people with disabilities.

“In Ghana, disabled people have not been widely showcased in a positive light,” she says. “So stigma thrives. Negativity thrives. People do not see us in powerful or beautiful or joyful positions; they see us only in struggle.”

Her advocacy is built on changing that perception. Not with pity, but with visibility.

With her kente prosthetic, unfiltered personality and refusal to shrink herself to fit public expectations, Abena wants Ghanaians to see disabled people as they are: ambitious, stylish, talented, complex, proud and human.

“Disability is not a limitation. Having a disability is not what makes you disabled,” she says.

“Lack of support, lack of accessibility, that is what disables you.”

Her advocacy found a new stage, literally, at the 15th edition of Rhythms on the Runway, one of Africa’s most celebrated annual fashion shows, which took place last month at Accra’s historic Osu Castle.

In the build-up to the show, Abena approached the organisers directly.

She knew what her presence would mean, not just for herself, but for Ghana. She wanted to open the door to a different kind of representation, to force a conversation that the country had delayed for too long.

“I knew it would be a monumental moment for Rhythms on the Runway and for Ghana,” she says. “If I wanted inclusivity in the industry, I had to be willing to take that first step.”

And she did.

When she stepped onto the runway, draped in fabric and confidence, her prosthetic gleaming under the spotlights, the room shifted. What happened next became one of the most talked-about moments of the night.

“Her strength showed right through, speaking volumes. ‘I am differently able, and I have got this,’ Tourism, Culture and Arts Minister Abla Dzifa Gomashie said.

“Her walk was not just a performance; it was a powerful affirmation that talent, beauty, and confidence know no limitations. We are proud to have provided a platform where her light could shine so boldly,” fashion show organiser Shirley Emma Tibilla said.

“Abena’s presence was absolutely powerful. This is what true inclusion looks like, celebrating every story, everybody, and every ability,” Dentaa Amoateng, entrepreneur and founder of the Guba diaspora investment awards, added.

But for Abena, the significance of the evening was not the applause. It was the message. Disabled people were not just spectators that night, they were centre stage.

Standing at the intersection of identity, disability, heritage and fashion, Abena represents a new way forward for Ghana, one where inclusion is not quietly suggested, but boldly demanded.

Her journey from a two-year-old cancer patient to a woman reshaping how Ghana sees disability is not a story of survival; it is a story of reclamation.

She reclaimed her identity, reclaimed her mobility, reclaimed her belonging and reclaimed her place in a country that, in her words, “fought for me before I even stepped foot here”.

Her work is far from finished. But whether she is on a runway, behind a microphone, or mentoring young amputees, one thing is constant: she refuses to dim her light. And she refuses to let others like her be dimmed either.

“Ghana is my home,” she says.

Kwesi is accused of libel, and as a result, Glen and his company are seeking more than 10 million cedis in damages over comments he made in a social media post about a week ago. 

According to the writ of summons filed on 27th January 2026, made available to myjoyonline.com, the plaintiffs want the court to declare a series of statements by Kwesi Arthur as defamatory and libelous, demand the removal of the posts, restrain further defamatory comments, and require a public apology and retraction with the same prominence as the original posts.

The suit also seeks: General damages of five million Ghana Cedis (GH₵ 5,000,000), special damages of two million Ghana Cedis (GH₵ 2,000,000) for economic harm and lost business opportunities, aggravated and exemplary damages of three million Ghana Cedis (GH₵ 3,000,000), and legal costs.

At the centre of the dispute are five key statements attributed to the rapper in his 21 January 2026 post. In those posts Kwesi Arthur said he was being asked to pay USD 150,000 for using images of himself in an independent project and alleged that Ground Up Chale “claims to own me, my image, my music, and everything attached to it from 2016 to this day.”

He also claimed he had “not made a dime from any of my music” while working with the label and accused the management of threats, manipulation and attempts to block the release of his current music. The most serious claim warned: “If anything happens to me, Glen Boateng and all team members of Ground Up Chale are responsible and should be held responsible.”

Kwesi Arthur’s allegations triggered widespread reaction across social media and from industry observers who raised concerns about artist rights and contract fairness in Ghana’s music business. Supporters quickly rallied behind the rapper using hashtags such as #FreeKwesiArthur.  

The suit demands that the rapper immediately and permanently delete his Instagram and X posts from 21st January 2026 and all related content from his social media platforms. It also seeks an injunction to prevent him and his agents from further sharing or circulating defamatory comments, and it orders a vetted apology to be published.

Ground Up Chale’s lawyer, Jonathan K. Amable, has publicly rejected key aspects of Kwesi Arthur’s claims. During a Joy FM X Spaces discussion, he said the company did not stop the rapper from using his images broadly but only restricted the use of footage and visuals produced by the label during their contractual relationship.

Mr Amable also presented portions of email correspondence showing that Kwesi Arthur received royalties worth £91,370 and payments from distribution deals, countering the claim that the artist earned nothing. He said the contract signed in 2017 included terms under which the label owned material created in that period.  

The legal representative further said the dispute is rooted in contractual rights over past works and that Ground Up Chale is prepared to defend its interests.

Kwesi Arthur rose to national fame under the Ground Up Chale collective after he was signed in 2017, and his music has influenced Ghana’s hip-hop scene, giving voice to younger audiences through hits such as Grind Day and Winning.

As of publication, Kwesi Arthur had not responded to the legal action.

The YouTube personality, known for his high energy live streams and global fan base running into tens of millions, has been on a wider tour of Africa, using his platform to showcase culture, landmarks and youth experiences across the continent. His visit to Ghana formed part of that broader cultural exploration.

Speaking in an interview with Nana Romeo on Okay FM, the Deputy Chief Executive of the Ghana Tourism Authority, Gilbert Abeiku Aggrey, revealed that Speed could not make it a number of notable spots.

He mentioned places such as Reggie Rockstone’s Rockz Waakye shop, the Despite Automobile Museum, Republic Bar and Grill, and the Aburi Botanical Gardens.

He further stated that the Ghana Tourism Authority had no hand in planning IShowSpeed’s itinerary.

“What we rather did was to provide visa on arrival for him and his crew, we also helped them to get clearance on their equipment from customs, and then we went to national security and IGP to offer their services to them,” he said.

Abeiku also explained that although the Authority did not dictate where the streamer should go, Speed’s team reached out for advice on some of their decisions. 

He added that the government provided him with a helicopter to make his movements easier for his return from Akropong-Akuapem to Accra.

He therefore dismissed rumours that the Ghana Tourism Authority arranged the jollof rice that Speed scored and declared Nigeria the winner.

“GTA is not responsible for his plan so I don’t know who cooked the Jollof,” he said.

During his time in Ghana, IShowSpeed visited Asenema Waterfalls and the palace at Akropong-Akuapem, where he was given a Ghanaian name, Barima Kofi Akuffo. He later went to Black Star Square in Accra for a supercar session and a jollof tasting session, among other activities.

He also toured the Kwame Nkrumah Memorial Park, took part in boxing activities in Bukom, and concluded his tour with a visit to Hammamat Montia’s Shea Butter Museum in Accra, where he received a traditional farewell message delivered through ten maidens.

The announcement was made by the Minister for Foreign Affairs, Samuel Okudzeto Ablakwa, after discussions with the popular content creator during his visit to Ghana.

“Following our discussions and subsequent confirmation of the irrefutable ties of IShowSpeed to Ghana, I am pleased to inform you and our compatriots that the Ministry of Foreign Affairs has approved the issuance of a Ghanaian passport to IShowSpeed,” the minister stated.

Mr Ablakwa encouraged the streamer to continue projecting Ghana and Africa positively on the global stage, noting the impact of his influence among young audiences worldwide.

“Keep making our great nation Ghana, and our beloved African continent proud,” he added.

The Foreign Minister also praised IShowSpeed and his team for their role as cultural ambassadors, recalling that a diplomatic passport had been granted last year, a move he described as a symbol of Ghana’s appreciation and goodwill.

IShowSpeed’s recent visit to Ghana, which formed the final leg of his Africa tour, attracted massive public attention and international visibility, with several moments from the trip going viral across social media platforms.

While in Accra and other parts of the country, IShowSpeed participated in traditional naming ceremonies, street football runs, friendly boxing spars, and sampled a variety of local dishes, often drawing massive crowds wherever he went.

Philip Halloun (Denmark) broke the record for most languages featured on a music single with a beautiful tribute to his son William.

The 41-year-old speaks Danish, English, Arabic, and a bit of Hebrew, French and Chinese, and used various tools to do the translations for the hundreds of other languages.

521 isn’t a random number either – it references William’s birthday on 21 May, and the song “I Love You” marked his first birthday.

Musician and creative entrepreneur Philip smashed the previous record of 398, set by by Suneet Haran (India) in 2024.

Philip, who is expecting his second child with wife Dina, said: “I wanted [his birthday gift] to be something that showed devotion.

“And setting a goal to achieve, no matter how hard it would seem, for him to remember forever.

“The melody on the guitar is a little piece I wrote for him before he was born, and I used to play it for him always before and after he was born.”

Philip has been writing and producing music for 20 years and has written songs for artists from all over the world, in many different languages.

But that doesn’t mean this project was an easy one.

“The most difficult part was making sure the pronunciation of all the languages was correct and recording them all to sound fluid and harmonious,” Philip said.

“As the lyrics of the song is ‘I love you’ in all the languages of the world, my message to him is that I will always love him no matter what, in every language.”

Philip said that while the song is dedicated to William, it’s also for people all over the world who need to hear the words “I love you”.

He said: “I wish for the song and the record to serve as a manifesting mantra, to bring love into the hearts of those who need it the most.

“It feels great [to break the record], I grew up reading the Guinness World Records books with my brother and it’s an honour to be part of the legacy.”

Clearly impressed, the award-winning singer jokingly pleaded with his wife, Chioma, for permission to try the experience himself.

“My darling wife, please permit me,” Davido wrote while sharing the clip, instantly sending fans into a frenzy.

The video, which has been viewed by tens of millions globally, shows IShowSpeed enjoying a full-body shea butter massage at the Hamamat African Village and Shea Butter Museum during the final leg of his Ghana tour.

The streamer described the experience as “heaven,” a comment that further fueled the video’s viral buzz.

The massage session capped an eventful 24-hour tour, highlighting Ghana’s rich culture and renowned hospitality.

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During his visit to Accra and other parts of the country, IShowSpeed took part in traditional naming ceremonies, street football matches, friendly boxing sessions, and sampled a variety of local dishes, often drawing massive crowds wherever he went.

As his visit came to a close, an energized IShowSpeed hinted at a possible return, leaving fans hopeful for another Ghana moment.

Beyond the humour and entertainment, the experience has provided an unexpected boost for Ghana’s tourism image, showing that sometimes all it takes is one viral moment to put a destination back on the global map.

According to her, she was married at 19 through an arrangement made by her parents.

The actress’s revelation was shared via a verified X account named Igbo History and Fact.

“Marriage found me at just 19. It wasn’t my choice; my parents arranged it. At first, I was scared. I didn’t know how to love a man I didn’t choose.”

Ozokwo explained that with time, love grew between them, and they spent 23 years together as husband and wife.

She revealed that her husband was ill for 15 years before he passed away in 2000.

She said they had three children together and that she later adopted five more, though one of the adopted children died. She added that she now has seven children.

“But as time passed, love grew. We spent 23 years together. He was sick for 15 of those years, and in 2000, he passed away.

“We had three beautiful children, and I adopted five more. One of them died, so I now have seven,” she said.

The actress said she never remarried after losing her husband, choosing instead to focus on raising her children.

Reflecting on marriage today, Ozokwo said people now spend too much time trying to fix themselves, yet many marriages still fail.

She noted that in her time, marriages arranged by parents were treated with commitment and endurance.

She added that she raised her children with strong values, encouraging respect and responsibility, which she believes helped her build a stable home despite challenges.

“I have told my children never to think of divorce. I raised my daughters to be respectful and my sons to be responsible. That is how I built a strong home through hardship, love, respect, and sacrifice,” she concluded.

This came amid the ongoing fight between Wizkid and Fela’s lastborn, Seun Kuti.

The duo engaged in a heated exchange on Tuesday after Wizkid’s fans compared him to the late Fela.

Reacting to the development, Seun Kuti, who seems not to be comfortable with Wizkid’s comparison to his father, attacked Wizkid.

Following the escalation, debate about Fela’s legacy and influence divided Nigerians on social media, including celebrities, with some condemning Wizkid for allegedly disrespecting the late Afrobeat legend, while many blamed Seun for Wizkid’s reactions.

However, speaking in a video shared on Instagram by Tunde Ednut on Saturday evening, Burna Boy said, “Fela is the king. He is the only one greater than me.”

The singer made the comment on Sunday evening while responding to the allegation.

Funke Bucknor-Obruthe, CEO of the company responsible for Davido and Chioma’s wedding, was reported to have called out the singer over the supposed unpaid debt. The viral report included an alleged chat in which the event planner reportedly threatened legal action.

Reacting on X, Davido dismissed the claims, describing the situation as an insult. The singer wrote, “This is just crazy atp (at this point).”

In a new development, the event planner denied the circulating reports, calling them “totally false and misleading” and clarifying that the quotes did not originate from her official Instagram account.

“This is my official Instagram handle. I’m seeing a false narrative flying around about Davido that I purportedly posted. All posts online — on Twitter, TikTok, Instagram — are totally false and misleading,” she stated.

One of the genre’s most revered drummers, he played on tracks such as Bob Marley’s Punky Reggae Party and Dave and Ansell Collins’ classic, Double Barrel.

However, he was better known as half of the production team Sly & Robbie, who produced groundbreaking hits for everyone from Peter Tosh and Black Uhuru, to non-reggae acts like Bob Dylan, Grace Jones and Ian Dury.

Dunbar’s death was first reported by his wife, Thelma, who told the Jamaican newspaper The Gleaner she had found him unresponsive on Monday morning. The musician’s agent and publicist confirmed the news to the BBC.

Born Lowell Fillmore Dunbar in Kingston, Jamaica, he started out playing on tin cans after watching Lloyd Knibbs and the Skatalites on television.

“I saw [Knibbs] playing, and I thought, ‘I want to be a drummer’ because he’s the hardest worker in the band,” he said in a 1997 interview.

“He’s my idol! In some ways, I’m self-taught, but I got a lot of help from other drummers by watching them play.”

In his teens, Dunbar met bassist Robbie Shakespeare and formed the Revolutionaries’ rhythm section, who became regular session musicians at the famed Channel One recording studio.

Their sound differed from the melody-rich music of Bob Marley, with a heavier emphasis on the beat – including the pioneering “rockers” rhythm, which introduced more syncopation and energy to the music.

They spent the 1970s working with major reggae acts like Gregory Isaacs, Dennis Brown and Barrington Levy, while touring the US with Peter Tosh.

According to legend, the duo lived on bread and water during that period, hoping to save enough money to start their own production company.

Taxi Records was founded in 1980 and nurtured a new generation of Jamaican artists, including Shaggy, Shabba Ranks, Skip Marley, Beenie Man, and Red Dragon.

Around the same time, they provided the thunderous beats on Grace Jones’s 1981 hit album Nightclubbing, which opened the door for them to work with some of rock and pop’s greatest – from Dylan and Joe Cocker to singers like Marianne Faithfull, Madonna and Sinead O’Connor.

At home, they earned a reputation for updating reggae’s sound by incorporating more electronic instruments and textures.

Later, they developed a bright, melodic take on dancehall with the duo Chaka Demus & Pliers, scoring hits with songs such as Tease Me and Murder She Wrote in the early 1990s.

At one point, Shakespeare (who died in 2021) estimated that he and Dunbar had taken part in more than 200,000 recordings, either their own or as backup musicians or producers for other artists.

“When you buy a reggae record, there’s a 90% chance the drummer is Sly Dunbar,” producer Brian Eno told the New Music New York festival in 1979.

“You get the impression that Sly Dunbar is chained to a studio seat somewhere in Jamaica, but in fact what happens is that his drum tracks are so interesting, they get used again and again.”

Dunbar’s wife said she had found him unresponsive in bed at around 07:00 on Monday, 26 January.

“I went to wake him up, and he wasn’t responding. I called the doctor, and that was the news,” she said.

An exact cause of death was not given, though Dunbar had reportedly been ill for some time.

“Yesterday was such a good day for him,” Thelma told Jamaica’s Gleaner newspaper.

“He had friends come over to visit him, and we all had such a good time. He ate well yesterday… sometimes he’s not into food. I knew he was sick… but I didn’t know that he was this sick.”

Among those paying tribute was British DJ David Rodigan, who called Dunbar a “true icon” and “one of the greatest drummers of all time”.

The colourful event, rich in royal symbolism, introduced the digital sensation to ancient Akan customs and culminated in the presentation of a local name, Barima Kofi Akuffo.

Organised by traditional leaders and elders, the ceremony transformed the community grounds into a vibrant cultural spectacle, featuring elaborate kente regalia, energetic drumming and spirited traditional dances.

@theculturejoint

🇬🇭 Speed named Barima Kofi Akuffo

♬ original sound – Culture Joint

Residents and visitors thronged the venue, creating an atmosphere of celebration and warm Ghanaian hospitality.

Clad in specially prepared traditional cloth, Speed fully embraced the moment. He joined the cultural troupe on the dance floor, moving to the powerful fontomfrom drums, and exchanged greetings with elders and excited fans, clearly touched by the reception.

@theculturejoint

Speed did a backflip at his naming ceremony in Ghana🇬🇭

♬ original sound – Culture Joint

A major highlight was his formal introduction to the traditional ruler, where he paid homage in line with Akan custom.

The name Barima Kofi Akuffo carries deep cultural meaning among the Akan people. “Barima” represents courage, strength and leadership, often associated with a warrior spirit.

“Kofi” is given to males born on a Friday, symbolising calmness and creativity, while “Akuffo” reflects lineage and belonging.

Together, the name signifies resilience, honour and a symbolic bond between the global star and the host community, marking Speed’s official cultural induction into Ghanaian society.

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The event, which featured a supercar spectacle at Independence Square, attracted a massive crowd and generated widespread excitement both on the ground and online.

Known for his high-energy live streams, iShowSpeed is in Ghana for a series of activities, including showcasing luxury vehicles at the iconic national venue.

The spectacle transformed Independence Square into a hub of speed, luxury, and youth culture, with selected young riders thrilling the audience with impressive displays.

With millions of followers across digital platforms, iShowSpeed’s visit is expected to boost Ghana’s global digital visibility.

Social media has been buzzing, with fans closely tracking his movements and eagerly anticipating more live content from his stay.

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Oliver Barker-Vormawor, counsel for Abu Trica, confirmed the development on Tuesday, noting that officers from the Narcotics Control Commission (NACOC) attempted to rearrest the accused inside the courtroom immediately after the discharge—a move that reportedly offended the presiding judge.

Abu Trica has since been taken back to NACOC headquarters for further procedures, which the lawyer believes are administrative.

The two other accused, Lord Eshun and Bernard Aidoo, who were arraigned as alleged accessories under an extradition charge sheet, were also discharged after prosecutors stated that investigations did not support further prosecution.

Despite the discharge, Abu Trica remains implicated in a separate international case. He is named in a U.S. indictment accusing him of defrauding elderly victims of more than US$8 million through romance scams.

According to the unsealed indictment, Abu Trica, 31, from Swedru, is alleged to have been part of a criminal network operating since 2023, which targeted elderly individuals across the United States.

The group reportedly used artificial intelligence software to create false identities and build emotional relationships with victims via social media and online dating platforms.

Arrested in Ghana on December 11, 2025, Abu Trica faces charges including conspiracy to commit wire fraud, money laundering conspiracy, and a forfeiture specification. If convicted, he could face up to 20 years in prison.

Led by CEO Nana Kwesi Salem and COO Fiifi Odei Kaytu Ma-Onhiawoda, the organisation aims to fill what it describes as a long-standing gap in global music recognition, where African musicians often achieve remarkable feats without formal documentation or certification.

“Duty World Records was born out of necessity, not imitation,” the organisation said. “African musicians have been breaking boundaries for decades, yet many of these achievements go unrecognised. We exist to change that narrative.”

Duty World Records seeks to recognise a wide array of music-related records, including live show milestones, streaming achievements, songwriting feats, DJ performances, production output, performance endurance, and culturally rooted musical expressions often overlooked by international record bodies.

The organisation says eligibility is open to all musicians regardless of age, genre, nationality, or career stage. “If you create music, you are eligible,” it stated, adding that discipline, originality, and commitment are essential for any record attempt.

Artists interested in attempting a record must submit a proposal for review. Once approved, the attempt is conducted under strict guidelines that include structured monitoring and transparent documentation. Verification is based on continuous evidence gathering, expert review, independent witnesses, and verifiable data.

“Every record stands on evidence, not hype. If it cannot be proven, it cannot be crowned,” Duty World Records emphasised.

To ensure credibility, the organisation collaborates with music professionals, sound engineers, event specialists, and cultural consultants, maintaining firm standards while remaining relevant to African realities.

Although still new, Duty World Records says it is already shaping how musicians approach their craft, encouraging endurance, consistency, and long-term impact as part of artistry. In Ghana, it contributes to preserving music culture by formally documenting sound, language, rhythm, and identity through certified records.

The organisation admits it faces challenges common to new institutions, including skepticism and limited resources, but maintains that resistance is part of innovation. “We do not wait for Africa to be noticed. We document Africa ourselves,” it explained, highlighting how it differs from global record organisations.

Looking ahead, Duty World Records plans to expand beyond Ghana to build a continental archive of African music achievements. It is calling on musicians and creatives to view record-setting not just as a competition, but as a way to build legacy and preserve African excellence for future generations.

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In a personal statement on her X page on Friday, Simi revealed that she had originally hoped to release the track last year after sharing a snippet that generated widespread excitement. However, the period was marked by severe physical challenges.

“I was sick and weak and nauseous and tired, and my body just wouldn’t do what I wanted it to,” she said, noting that even during the snippet video shoot, she was unwell but pushed herself to deliver her best.

Simi also praised Chike, describing her long-standing admiration for his voice and professionalism, and noting that she knew he was the perfect collaborator for the song. Although Chike was initially out of town, he came to her studio immediately after returning, unaware that she was pregnant and struggling physically at the time.

Reflecting on the studio sessions, Simi admitted she is still surprised by the energy she displayed in the recorded video, given her condition. She further revealed that she handled the mixing and mastering of the song herself, despite her dislike for mastering, saying: “I hate mastering, so I don’t know what I was thinking.”

The singer expressed disappointment at missing the intended release deadline, especially since fans had already fallen in love with the song and were eager for its official release. She explained that her health left her without the strength to promote the record properly or even remember parts of the content creation process.

Addressing long-standing public speculation about her career, Simi added that the song’s release also serves as a response to critics who claim she gave up her career for marriage.

In an emotional statement, the actress reflected on a decade marked by legal battles, broken communication, bitterness, and emotional pain, noting that what once seemed irreparable has now been healed through humility, prayer, and what she described as God’s intervention.

According to Tonto Dikeh, the reconciliation did not come through human effort or negotiation, but through spiritual transformation and the sincere prayers of their child.

She expressed deep gratitude to Dr Churchill, the father of her child, for embracing peace and following what she described as God’s guidance.

The actress also used the announcement to encourage others facing prolonged emotional struggles, urging them not to give up hope. She stressed that delays do not signify abandonment and that restoration is possible, even after years of pain.

Describing the reconciliation as “10 years in one day,” Tonto Dikeh called it a miracle and a living testimony that faith and love can rewrite even the most painful chapters. She also acknowledged the role of her spiritual mentor in guiding her personal growth during the past decade.

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