The couple, who have been married since 2021, shared the news in an emotional Instagram post accompanied by a video showing ultrasound images and baby-themed outfits for the newborns.

After five years of waiting, Lateef Adedimeji said God has blessed him abundantly with “a woman who became a mother of three, and three kings to call my own”.

He also opened up about his recent absence from social media, explaining that he stepped back to quietly “build, protect and embrace the greatest blessing” of his life.

However, he believes the moment is too precious to keep private, as he expressed gratitude to God for the gift of his growing family.

The announcement has effectively put to rest long-standing public speculation about the couple’s journey into parenthood.

Fans, colleagues and well-wishers have since flooded social media with messages of excitement and celebration, describing the development as a rare and beautiful blessing.

Lateef Adedimeji and Mo Bimpe, known for their roles in popular productions such as Lisabi: A Legend Is Born, now step into parenthood with what has quickly become one of the most talked-about celebrity moments in Nollywood this week.

Watch video of their announcement below:

View this post on Instagram

A post shared by Adedimeji Adetola Lateef (@adedimejilateef)

Talankin says he had the Academy Award in his carry-on bag for a flight to Germany on Wednesday, but airport security stopped him at John F Kennedy International Airport because they said the award could be used as a weapon.

But when he landed in Germany, the Oscar was gone.

Lufthansa Airlines, which helped him pack the award in a box for the flight since Talankin didn’t have a checked bag, said its team is treating the incident with “care and urgency” and is conducting a “comprehensive internal search” for the award.

“We deeply regret this situation,” the airline said in a statement. “Our team is treating this matter with the utmost care and urgency, and we are conducting a comprehensive internal search to ensure Oscar is found and returned as quickly as possible.”

The BBC has contacted the Academy of Motion Picture Arts and Sciences and the US Transportation Security Administration (TSA), which handles airport security, and has stopped Talankin from bringing his Oscar in his own carry-on bag.

The BBC documentary‘s executive producer, Robin Hessman, said she was on speakerphone with Talankin and TSA to help at the airport because Talankin does not speak fluent English.

She told the BBC that he’d flown multiple times with his Oscar and also his Bafta, both of which he’d won this year, across the US and on international flights, and never had any issues bringing his Oscar aboard.

“This wouldn’t have happened to Leonardo DiCaprio,” she said.

Talankin, the co-director and protagonist of the Best Feature Documentary winner, travels with the award often to showcase at events at screenings.

During this trip in New York, he passed it around an audience of students at a university during a Q&A session after a screening of the documentary.

The BBC has viewed video of Lufthansa staff using tape and bubble wrap to pack the Oscar into a box.

An Academy Award stands 13.5in tall (34cm) and weighs 8.5lb (3.9 kg). It reportedly costs from $400 to $1,000 to create the statuette.

Mr Nobody Against Putin is a documentary Talankin filmed documenting the ramping up of war propaganda in a Russian school, where he worked, following Russia’s invasion of Ukraine in February 2022.

He is now exiled from Russia for his own safety and living elsewhere in Europe.

Russia has banned the documentary from three streaming platforms on the grounds that it “propagates extremism and terrorism”.

In less than a decade, audio streaming flipped the industry on its head. Platforms like Spotify, Apple Music, and Tidal turned access into abundance.

Today, more than 600 million people worldwide use music streaming services, and global streaming revenue crossed $19 billion in 2024, accounting for over 65 percent of total recorded music income. For artists, this looked like a golden ticket. Upload a track, reach the world, and watch the numbers climb.

But behind the glossy dashboards and viral playlists lurks a murkier reality. A shadow economy is thriving. It is built on fake plays, synthetic listeners, and quiet manipulation. Welcome to the world of streaming farms.

The Illusion of Popularity

Streaming farms, sometimes called bot farms, are operations designed to inflate music streams artificially. They use automation to mimic real listeners at scale. Think thousands, sometimes millions, of plays generated without a single human ear involved.

These farms are not fringe experiments. They are a global business. Some are run by independent operators chasing quick profit. Others are more organized, offering paid services to artists, labels, or managers desperate for visibility.

The pitch is simple. Pay for streams, climb the charts, attract real listeners. In a system driven by numbers, perception becomes reality.

How the Machines Fake the Music

The mechanics are both simple and sophisticated.

At the core are bot networks. These are automated programs thatstream songs on repeat across multiple devices or virtual machines. A single farm can control thousands of simulated listeners at once.

Then come fake accounts. Farms create or hijack user profiles on streaming platforms. Some estimates suggest that up to 10 percent of accounts on certain platforms could be inactive or fake. Each account becomes a tiny amplifier, adding to the illusion of popularity.

The real trick lies in behavior. Advanced farms do not just hit play endlessly. They mimic human habits. They vary listening times, switch songs, change locations, and even simulate playlist engagement. Some bots “sleep” at night and “wake up” during peak hours to appear authentic.

In short, they do not just game the system. They study it.

When Charts Stop Reflecting Reality

Charts are supposed to measure what people love. Streaming farms rewrite that story.

A track boosted by artificial streams can surge into trending lists, editorial playlists, and algorithmic recommendations. Once it gains momentum, real listeners may follow, unaware of the manufactured push behind it.

This creates a feedback loop. Fake success attracts real attention, which reinforces the illusion.

The result is distortion. Songs that might never have gained traction organically can dominate charts. Meanwhile, genuinely popular tracks risk being overshadowed by those with deeper pockets or looser ethics.

For an industry built on cultural relevance, that is a serious credibility problem.

The Money Trail Nobody Talks About

Streaming fraud is not just about ego. It is about money.

Streaming platforms pay royalties based on total plays. While individual streams are worth fractions of a cent, scale changes everything. A million fake streams can generate real income.

Industry analysts estimate that streaming fraud drains hundreds of millions of dollars annually from the music economy. That money does not disappear. It is redirected, often away from independent artists who rely on authentic listeners.

In a system where payouts are pooled, fake streams dilute the value of real ones. Every artificial play chips away at someone else’s earnings.

It is not just unfair. It is systemic.

The Playlist Gold Rush

Playlists are the new radio. Landing on a popular playlist can skyrocket a song’s reach overnight. Some top playlists boast tens of millions of followers.

This has created a booming side industry. Playlist promotion services promise exposure, often blurring the line between marketing and manipulation.

Streaming farms have seized this opportunity. They inflate streams within playlists to make tracks appear more successful than they are. That visibility can trick algorithms into pushing the song further, compounding its reach.

For artists, the temptation is real. When discovery feels like a lottery, gaming the system can seem like strategy rather than cheating.

Why Platforms Are Struggling to Keep Up

Streaming services are not blind to the problem. They invest heavily in detection and prevention.

Machine learning systems scan for suspicious patterns. Unusual spikes, repetitive listening behavior, and clustered activity can trigger red flags. Platforms also tighten account verification to limit fake profiles.

Yet the battle is uneven. For every detection method, farms evolve. It is an arms race where both sides adapt continuously.

Transparency remains another issue. Many platforms do not fully disclose how streams are counted or how payouts are calculated. That opacity creates room for exploitation and fuels skepticism among artists.

A System Built for Exploitation

The uncomfortable truth is that streaming farms exploit structural weaknesses in the system.

First, the payout model rewards volume over engagement. A passive stream counts nearly as much as an active, intentional listen.

Second, algorithms prioritize momentum. Rapid growth often triggers more visibility, regardless of its source.

Third, barriers to entry are low. Anyone can upload music and, with the right tools, manipulate its performance.

Combine these factors, and you have a system that can be nudged, if not outright gamed.

Is There a Way Out?

Fixing this problem will not be simple, but several ideas are gaining traction.

Blockchain-based streaming platforms are one option. By creating transparent and tamper-proof records of streams, blockchain could make fraud far more difficult. Every play would be verifiable and traceable.

Another approach is user-centric payment models. Instead of pooling revenue, platforms would distribute each user’s subscription fee only to the artists they actually listen to. This could reduce the impact of fake streams on overall payouts.

Independent audits could also help. Regular third-party verification of streaming data would increase trust and accountability across the industry.

Finally, clearer industry standards are essential. Consistent rules around counting streams, detecting fraud, and penalizing offenders would level the playing field.

The Human Cost Behind the Numbers

Beyond charts and revenue, there is a deeper consequence.

Music is culture. It reflects voices, stories, and communities. When success is artificially engineered, those authentic voices risk being drowned out.

Emerging artists, especially those without resources to compete in the gray market, face an uphill battle. Their growth depends on real listeners, not synthetic ones.

For fans, the experience also changes. Recommendations become less about taste and more about manipulation. Discovery becomes less organic.

Final Thoughts

Streaming transformed music for the better in many ways. It opened doors, expanded audiences, and reshaped how we listen.

But it also created vulnerabilities. Streaming farms are not just a technical glitch. They are a symptom of a system that rewards numbers without always questioning their origin.

The solution will require collaboration. Platforms must strengthen safeguards. Artists must resist the lure of artificial growth. Industry leaders must push for transparency and fairness.

Because in the end, music deserves better than fake applause.

And listeners deserve to know that when a song rises, it is because people truly pressed play.

Speaking on Joy FM’s Personality Profile, the artiste said the moment is not just about awards, but about celebrating years of growth, work, and impact.

“I’m so ready. Because for, for like the past week, month, I’ve been really trying to take everything in what, for like the past six years, past seven years.

He explained that he has been reflecting on his journey in music and how far he has come since his early years in the industry.

“Trying to gather all of that and take it in. I don’t even know how to describe proper words than take it in. But that would be the sentence I would use now. Trying to take all of our works and materials that we’ve put out, our accolades, the things ahead of us. Trying to stay in between them and balance all of that.”

According to him, he is mentally aligning past achievements with present success and future ambitions.

“We really have to go to this VGMA and go have fun. Fun to me is, I don’t want to use taking this in, right? I don’t want to use the taking it again, but like, gratitude in celebration form. You know, we are very grateful.”

He stressed that the awards night is more about appreciation and joy than pressure.

“We are so grateful. And the fans that we’ve been able to put together. And I’m always surprised, you know. There’s never a time that I go on stage and I’m like… That there’s not a little air.”

He acknowledged the unwavering support from fans, saying he never takes it for granted whenever he performs.

“We’ve been blessed. And God opened our eyes as well. And we have a mission.The VGMA awards, is to celebrate the guys, the women, the workers, the creators, the singers on a mission. So we are going there to go have fun.”

For him, his music journey is purpose-driven, not just about fame or awards.

“We deserve the accolades… we deserve the fun.”

He believes years of hard work justify both recognition and celebration.

“Whether it’s 1 over 9 or 9 over 9, the celebration is constant.”

He made it clear that winning or losing does not change the spirit of the night for him.

“The flowers in our hearts are booming… we know our worth.”

Black Sherif highlighted self-belief and confidence in his craft regardless of outcomes.

“It’s a day for us to celebrate ourselves.”

He concluded that TGMA night is ultimately about honouring the journey of artists and their creativity.

Black Sherif has been nominated in major categories including Album/EP of the Year, Songwriter of the Year, Best Hip Hop Song, Best Afropop Song, Most Popular Song of the Year, Best Highlife Song, Hip Hop Artiste of the Year, International Collaboration of the Year, and Best Music Video.

Speaking on Joy FM’s Personality Profile, the “Second Sermon” hitmaker reflected deeply on his artistic identity, his sense of fashion, and the deeper essence he attaches to music and storytelling.

He explained that his “swag” goes beyond clothing and appearance, suggesting that there is meaning and spirit behind what he wears and represents.

“To be honest, for my swag. It’s not just the fashion. Sometimes there’s spirits representing the pieces. But I really want to remember for the swag.”

Beyond fashion, Black Sherif said music for him is about essence, meaning, and life experience — something he views as a lifelong calling rather than a career.

“But then the music. The essence. I mean, my definition to meaning.”

He drew inspiration from literature, referencing a lecture he once heard about Art Patrum and a poem written to a father, which explored the struggle of choosing poetry over a more traditional career path like engineering.

For him, that story mirrors his own journey and reinforces his desire to create a legacy that pushes others toward creativity and education.

“I saw a lecture on Art Patrum. One of the poems he wrote to his father, justifying to him about his poetry career… and how like trying to explain to his father how it made sense because his father didn’t understand why he could spend so much money on the kid to become some engineer or something and then you want to be a poet like that…”

“That type of feeling I got from there is what I want the next kid to feel when they hear about Black Sheriff.”

Ultimately, Black Sherif said he hopes his story becomes a source of motivation, even for those who may never deeply engage with his music.

“Even when they don’t hear about the music or like they don’t really get into learning my music. Like my anything, any piece of information they hear about Black Sheriff.”

“should get them to pick a pen or go to the dance studio. Or go for some admission to some school.”

He concluded that his ultimate goal is for everything associated with his name to carry inspiration and direction for young people.

“So anything about my life should inspire them.”

Speaking on Neat FM, she made it clear she is in no rush to have a child, stressing that motherhood is not a life requirement she feels compelled to meet.

While she says she values companionship, Nikki insists it does not have to come from having children, noting that family, friends, pets and relationships all count.

She explained that her decision is not driven by fear or uncertainty, but by the realities of modern life and the need to be emotionally and financially prepared before raising a child.

“I have to be very sure of who I carry a baby for,” she said, adding that although she has never been pregnant, she believes things will happen when the time is right.

She also dismissed speculation about infertility, pointing out that she comes from a family with a strong history of fertility.

As an only child, Nikki added that she is mindful of not placing undue responsibility on others until she is ready to take that step.

Her comments have since sparked conversation online, with many weighing in on the balance between personal choice and societal expectations surrounding motherhood.

The 53-year-old made the disclosure during an interview on The Shade Room.

Reflecting on his past relationships, Akon, who is known for his belief in polygamy, said his life is now more difficult with one woman.

“My life was a lot easier when I had multiple women surrounding me. It is a lot harder with just one woman,” he said.

Akon made the statement six months after his wife of 28 years, Tomeka Thiam, filed for divorce following irreconcilable differences.

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Addressing questions about the evolution and current state of Ghana’s music industry, the “Aletse” hitmaker did not hesitate when asked who stands at the top of the hierarchy.

For Tinny, Lord Kenya represents the total package that few in the industry’s history can rival, especially in style, lyrics and stagecraft.

Tinny said Lord Kenya’s dominance was not based on one specific skill, but rather a rare combination of essential qualities.

“He gets the style, stagecraft, lyrics and everything,” Tinny said in an interview on Hot FM, stressing that Lord Kenya’s all-round artistry set a benchmark that still stands today.

Lord Kenya, who dominated the music scene in the late 1990s and early 2000s before transitioning into ministry, remains one of the most decorated rappers in the country’s history.

Tinny’s endorsement adds significant weight to Lord Kenya’s legacy, especially coming from a peer who is also regarded as a pioneer of Ga rap and a heavyweight in the industry.

As discussions about the state of the music industry continue, Tinny’s comments serve as a reminder of the high standards of performance and creativity set by legends of the Hiplife era.

While in London, DJ Bridash met Ghana’s High Commissioner to the UK, H.E. Sabah Zita Benson, alongside award-winning rapper E.L, in a symbolic engagement aimed at strengthening the bridge between Ghanaian music and the diaspora community.

The meeting highlighted the growing influence of Ghanaian creatives abroad, with discussions centred on how music continues to serve as a powerful tool for cultural diplomacy and global representation.

Shortly after the engagement, DJ Bridash is set to take his craft to the stage as he joins E.L for a highly anticipated live performance in London.

The event comes off on May 2 at The Camden Assembly, one of London’s well-known live music venues that regularly hosts vibrant international acts.

The show promises an exciting night of music, bringing together fans of Afrobeats, hip-hop and contemporary African sounds. DJ Bridash, known for his energetic and seamless sets, will deliver a special performance supporting E.L throughout the night.

E.L, one of Ghana’s most respected rap and Afrobeats artistes, is expected to thrill fans with a selection of hit songs and fan favourites, adding to what is expected to be an unforgettable experience.

The event is also expected to draw members of the Ghanaian diaspora and international music lovers, further showcasing the global reach of Ghana’s entertainment industry.

For many, the combination of diplomacy and performance underscores how Ghanaian music continues to travel beyond borders, connecting communities and telling the country’s story on the world stage.

Event Details:
📅 Date: May 2
📍 Venue: The Camden Assembly
🎤 Featuring: E.L with special appearance by DJ Bridash

The visit, held in a solemn but respectful atmosphere, formed part of efforts to properly honour and celebrate the life of a man whose music touched countless lives across Ghana and beyond.

The family was received by management of Multimedia Group Limited led by Senior Editor, Special Assignments, Christian Amoadu Ohene, Adom FM Programmes Manager, Joshua Tigo, and Adom News Assisting Editor, Ernest Adu Kumi.

Known for his deeply spiritual songs and enduring presence in the gospel scene, Yaw Sarpong leaves behind a legacy that continues to resonate with many.

The family announced that wake-keeping will be held on Friday, May 8, 2026, followed by a lying in state on Saturday, May 9, 2026, at Asuofua Town Park.

This will be followed by the burial service at Asuofua on the same day, with interment at the Asuofua Cemetery shortly after.

Final funeral rites will also take place later on Saturday, May 9, 2026, at the Asuofua Town Park. Activities will continue on Sunday, May 10, 2026, with a thanksgiving service at Sokoban Ampayoo, before a family gathering is held at the Asuofua Town Park to conclude the funeral.

Family members explained that the arrangements are aimed at giving the celebrated musician a befitting farewell, while offering fans, colleagues and the general public an opportunity to pay their last respects.

Yaw Sarpong is remembered not only for his music but also for his humility and dedication to ministry, qualities that endeared him to many over the years.

He passed on Tuesday, January 20, 2026, at Emena Hospital, where he was receiving treatment.

With a passion for singing, Mr Sarpong, in the early stages of life, joined the Methodist singing group at Asuofua, where he was discovered by a medical doctor who also wanted to form a music group in 1971.

With a music career spanning over 40 years, it emerged in March 2024 that the legendary musician was not in good health, prompting concern from his fans.

Yaw Sarpong years before his death revealed that his music career has not really paid off as people may think, indicating that out of his 27 albums no producer has paid him for anything.

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

His songs are celebrated for their heartfelt worship, praise, and messages of faith, making him one of Ghana’s most enduring gospel icons.

Some of his most notable works include “Onyame Nhyira”, “Otuo Safoa”, “Onyame Nna” “Ayeyi” Obiara Nti” “Ahobrase3”, a collaboration with Sarkodie, “Meda Wo Ase” “Onyame W) Me Mma”, wohaw ne sen among others.

ALSO READ:

• Legendary gospel musician Yaw Sarpong passes on

• Tourism Ministry mourns Yaw Sarpong and Maame Tiwaa

Speaking on Daybreak Hitz, the then secular musician explained that certain actions by his mother and brother, though not intentional, played a role in shaping some of the decisions he made while growing up.

According to him, his mother would often send him to buy alcohol, which eventually sparked his curiosity.

“My mum used to send me to buy alcohol, and out of curiosity, I started drinking just to see how it is,” he said.

He clarified that his family did not intend to lead him into such habits, noting that they likely considered their actions normal at the time.

Yaw Siki added that these early experiences contributed to some of the challenges he faced some years ago.

Speaking on Daybreak Hitz, he disclosed that his introduction to alcohol started at a young age, long before senior high school.

“I started drinking when I was in JHS,” he said.

He further explained that his curiosity about smoking weed developed later during his senior high school years, largely influenced by hip-hop culture.

According to him, as a strong fan of hip-hop, he was exposed to frequent references to weed in the music, which sparked his interest.

“Hip-hop made me curious about weed. The people I listened to always talked about it, so I wanted to try,” he noted.

Yaw Siki clarified that while his exposure to weed was influenced by hip-hop, his drinking habits were not connected to the genre.

He added that his experiences have shaped his current lifestyle and perspectives.

Speaking on Daybreak Hitz, he stated that it would be impossible for his children to play his old secular songs at home.

“In my home, it can’t happen and it will never happen. We don’t play secular music,” he said.

According to him, his decision is influenced by his past experiences, noting that some of the content he consumed in the past negatively affected him.

He explained that he is intentional about controlling what is played on television and radio in his home to guide his children properly.

Yaw Siki added that his household is centered around gospel and inspirational content, with his wife often tuning in to radio stations that focus on such content.

He acknowledged that while some mainstream media content may be harmless, others can be misleading or corrupting, which is why they limit their exposure.

“I got corrupted by what I used to watch and listen to, so I’m raising my children differently.” he added

He said due to the difficulty in filtering all content, they prefer to stick to platforms that consistently provide gospel and uplifting material.

The “Boy Abrɛ” skit creator shared the news on his official social media pages on Monday, April 27, 2026, coinciding with his birthday.

He posted a photo of himself holding a baby carrier alongside a balloon inscribed “Welcome Baby,” hinting at the new addition to his family, although he did not disclose the baby’s gender.

Captioning the photo, he wrote: “+1 Today with another blessing from above already added to my LIFE. Indeed, God did.”

Kalybos’ announcement has sparked excitement online, with fans and colleagues flooding his page with congratulatory messages.

Mr. and Mrs Owusu Asante tied the knot in a beautiful and star-studded ceremony in November 2023.

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In a post shared on his social media platforms, the musician questioned why people often ask artists what other “proper business” they do aside from music.

According to him, that line of questioning comes across as insulting, especially considering the global significance of the music industry.

He emphasised that music is one of the biggest industries in the world and should be treated with the same level of seriousness as any other business venture.

Sarkodie further noted that pursuing a music career is a legitimate investment decision, with both risks and rewards, just like any other form of business.

His comments have since sparked conversations online about how creative careers are perceived and valued.

That question “apart from music, what business do you do? Like, a proper business?” honestly comes off as a bit insulting. Music is actually one of the biggest industries in the world, and in many cases, it’s just as serious (if not more) than what people like to call “proper…

— Sarkodie (@sarkodie) April 26, 2026

He told Kwame Dadzie in an interview on Joy FM’s Showbiz A-Z that his comedy career took off significantly when he performed in Ghana.

“But one thing is for sure. My career had its major kick off from Ghana and I will for ever be grateful to Ghana for it. I am not joking.

When I came to Ghana and I performed at the first TV3 Mentor show, nobody knew me. But immediately after that show that night, the whole Ghana was watching it. A day before nobody knew me. People were moving to Desmond Elliot and Segun Arinze. But the following day, from the hotel we were staying in, people were snapping pictures with me and Desmond Elliot and Segun Arinze. Both of them now sat and watched me enjoy what they were enjoying,” he said.

He added that since that moment, Ghana has continued to show him immense support.

“…and that is why I love Ghana,” he stated.

Klint Da Drunk won the hearts of many Ghanaians after delivering a memorable performance at the TV3 Mentor show years ago.

In his trademark drunk character, complete with a staggering walk and folded trousers, he had the entire auditorium in stitches with a routine centred on phrases commonly used by reggae musicians in their compositions.

Although he had not rehearsed with the band beforehand, the performance turned out exceptionally well, and many fans in Ghana still refer to it.

Klint Da Drunk, known in private life as Afamefuna Klint Igwemba, is a veteran Nigerian comedian and actor celebrated for pioneering stand-up comedy in Nigeria.

He rose to prominence with his distinctive “drunk” stage persona and has performed across Africa and beyond.

Over the years, he has appeared in films and major comedy shows, and is widely regarded as one of the key figures who helped shape contemporary African comedy.

He has been installed as a chief in Adamorobe, a town located in the Akuapem South Municipality of the Eastern Region.

The ceremony took place on Friday, April 24, 2026, where traditional leaders formally enstooled him and conferred on him the stool name Nana Osei Boakye Yiadom II. He is expected to serve in the role of acting chief as the substantive chief is advanced in age.

Moments from the event surfaced on social media, with videos showing the actor participating in customary rites. In the footage, he is seen dressed in a fugu paired with shorts, a look that sparked a mix of admiration and debate among online users.

Since the news broke, many have taken to social platforms to congratulate him, celebrating his move from entertainment into traditional leadership.

Mikki Osei Berko is a seasoned Ghanaian actor and media personality, best known for his role as Master Richard in the television series Taxi Driver.

He has worked with radio stations like Radio Gold, Happy FM and Adom FM.

Over the years, he has built a strong reputation in both film and television, earning praise for his versatility and screen presence. In addition to acting, he has contributed to media production and played a part in shaping Ghana’s entertainment landscape.

His recent installation as a chief adds a new layer to his career, placing him at the intersection of culture, leadership and the creative arts.

In a post on X (formerly Twitter), the actor stated that the name “Mahama” has become synonymous with persistent power outages in the country.

According to him, from the 2012–2016 power crisis—which severely disrupted homes and businesses nationwide—to the current 2024–2026 period, every tenure of the President has been significantly marked by dumsor.

“Now, it suffices to say that the name Mahama has become synonymous with DUMSOR. From the 2012–2016 power crisis, which crippled homes and businesses nationwide, to 2024–2026, every tenure of President Mahama has been significantly marked and burdened by DUMSOR. But yet, despite this painful history and its well-documented economic and social impact, electricity tariffs are still through the roof.”

He argued that despite the painful history and its well-documented economic and social consequences, electricity tariffs remain excessively high.

“Ghanaians deserve better than this. Please, Mr. President, we deserve better,” he wrote.

His comments add to ongoing public discourse about the country’s energy situation, as concerns grow over power reliability and the cost of electricity.

Ghana Besiaba also stood out on the night, winning Best Costume.

The episode featured a lineup of electrifying performances inspired by reggae and world music legends.

Soft Lyf impressed judges and audiences alike with a powerful rendition of Cocody Rock by Alpha Blondy, earning the top performance honour for the week.

Selorm the Wonder captivated viewers with Remember Me by Lucky Dube, a performance that resonated strongly with the audience and secured the popular vote.

Ghana Besiaba not only delivered a solid performance with Music Maker by Jimmy Cliff but also earned praise for an outstanding costume, which won her the Best Costume award.

Other contestants also brought energy and creativity to the stage.

Mighty performed Identity by Burning Spear, while Obaapa Grace delivered Tribal War by Culture.

Lady Nash took on Rihanna’s Man Down, and Kobby performed Three Little Birds by Bob Marley.

Mel Rhymez showcased Different Colours, One People by Lucky Dube, Iron Girl performed All I Have to Do Is Dream by Johnny Nash, and Safowaa thrilled with Under Pressure by Ras Kimono.

God Son performed Jerusalem by Alpha Blondy, while Ohemaa Doris closed with One Love by Bob Marley.

The performances highlighted the contestants’ versatility and growing stage presence as the competition intensifies in the ongoing season.

More pictures below:

The programme took place on April 25, 2026 at the Joy Prime studios and aired live on Hitz 103.9 FM and Joy Prime television from 2pm to 4pm. 

It featured four business professionals and eight young entrepreneurs who are listeners of Hitz FM.

The resource persons shared their success stories, challenges and offered practical business tips to the audience. The panel comprised Oheneba Yaw Boamah, Founder and Lead Creative of Abrantie The Gentleman; Sherif Ghali, CEO of the Ghana Chamber of Young Entrepreneurs; Christiana Dankwah, CEO of Foodbank/Kula Bristo; and Michael Marmon-Halm, Managing Director of FairAfric Ghana Limited.

The eight participants, Augustine Nkrumah Boamah, Jennifer Annan, Derrick Antwi, Edmond Sarpong, Christian Barnes, Stephen Gbande, Abdul Samed and Naomi Oppong, also engaged the panel and asked questions.

The programme which targets small and medium scale enterprises was themed “Building Smart Businesses, Growing Strong.”

‘My Hustle’ is a quarterly radio and television programme, powered by Hitz FM, that celebrates entrepreneurial journeys, provides practical business guidance, and connects young entrepreneurs with mentors, industry professionals and a youthful audience.

According to DJ Black, Programmes Manager of Hitz FM, “some young people are building brands, launching start-ups, monetising skills, and turning passion into enterprise. They are doing this with limited capital, changing markets, and stiff competition. Yet their stories are rarely told in well-structured, empowering formats that educate and inspire others. A lot of business-oriented programmes target much older business people and fully-fledged enterprises. That is the reason we have created this platform,” he said.

The programme was hosted by Doreen Avio and produced by Kwame Dadzie, Arnold Dei and Debby Sway.

Zambian journalist and digital creator Lilian Chipeso and Ghanaian content creator Goshers captured attention during the widely discussed Ghana–Zambia fufu saga.

What started as lighthearted banter about food and culture quickly gained traction across social media, drawing in audiences from both countries and beyond.

For Lilian, a communications professional and storyteller, the journey to Ghana became more than just a visit it was an opportunity to experience firsthand the culture she had been engaging with online. Her arrival in Accra was met with excitement, reflecting the strong connection she had built with audiences even before setting foot in the country.

Goshers, whose influence helped shape the narrative, emphasized the intention behind the viral moment:

“Everything started during the Ghana–Zambia fufu saga… But when the banter started heading towards division, I knew I had to find a way to bring people together and remind everyone that, after all, it was just banter . we are still one people.”

That message has become the defining theme of their story turning what could have divided into something that unites.

During her stay in Ghana, Lilian was hosted at the Groove Essipong Hotel, where she experienced a blend of comfort and hospitality that complemented her cultural journey.

The hotel’s serene environment and attentive service provided the perfect space for rest and reflection amidst a busy schedule of media appearances and engagements. It also offered a quiet reminder of Ghana’s growing appeal as a destination for both leisure and cultural exchange.

Her time in Ghana, from media tours to cultural immersion, further strengthened the bond between her and Goshers moving their connection beyond screens into a shared real-life experience that resonated with many.

Their story, now amplified on Joy Prime’s Prime Morning, goes beyond viral fame. It highlights how digital platforms can foster meaningful connections, reshape narratives, and promote unity across borders.

In a time when differences are often amplified, Lilian Chipeso and Goshers have offered a refreshing perspective, one that celebrates shared identity, mutual respect, and the simple truth that, despite it all, we remain one people.

The suit was filed at the High Court of Justice (General Jurisdiction) in Accra on April 20, 2026.

Court documents obtained by Nydjlive.com allege that Odo Broni and her six children have been subjected to sustained cyberbullying and what is described as a coordinated online campaign of harassment involving the defendant and associates.

The statement of claim alleges that the defendant used her TikTok platform to publish what it describes as “vile and vituperative” falsehoods, including claims that Odo Broni bribed a judge to influence a previous court case relating to her late husband’s funeral rites.

It further states that Queen Emma accused Odo Broni of infidelity, alleging extramarital affairs and questioning the paternity of her children, while also calling for DNA testing.

The writ also claims that the defendant alleged that Odo Broni “strangled her late husband to death” and used derogatory expressions such as “oprega” (restless animal) and “Odo Bronsam” (Precious Devil).

Odo Broni, through her lawyers at Cardinal Law Group, is seeking a court order compelling the defendant to issue an unreserved apology and retract the alleged defamatory statements.

The reliefs also include an order for the apology to be published in full-page adverts for four consecutive Mondays in the Daily Graphic newspaper, as well as across the defendant’s social media platforms.

In addition, she is seeking GHS 10,000,000 in damages, made up of GHS 3,000,000 in general damages and GHS 7,000,000 in aggravated damages, citing what her legal team describes as the “contumacious” and “malicious” nature of the publications.

The criticism comes after a recent altercation involving Burna Boy and DJ Tunez at a club in Lagos, which also sparked an online feud between Burna Boy and Wizkid.

Reacting to the controversy, some Nigerians accused Burna Boy of frequently getting into physical confrontations and described him as arrogant.

However, speaking in an interview with Ebuka Obi-Uchendu on Channels TV, Bose Ogulu dismissed the criticism, stating that she does not mind being perceived that way.

When asked about the perception of her son, she said if knowing his worth and carrying himself accordingly is seen as arrogance, then it is not a bad thing.

“And I can’t apologise for that,” she added.

Ebuka asked: “Do you mind that Burna Boy is seen as arrogant? Do you mind that you are seen as arrogant in the way you run the Burna brand?”

She responded: “I don’t mind, honestly, I don’t mind at all. I mean, any adjective they want to attach to you is okay. The thing is, who are you? If knowing your worth and carrying yourself as such is arrogant, then it is a good thing. And I can’t apologise for that.

“Because I think we were born into a world where we were expected to put our heads down.

“First is the colour of your skin, the colour of your passport, and for me, my gender. So, I don’t understand the concept of that life. I understand that if I know something, I know it, and I expect you to realise that I know it. And if you don’t realise that I know it, then put me to the test,” she said.

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The wedding, which took place in the scenic coastal town known for its breathtaking views and serene atmosphere, was a private affair attended by close family and friends.

Although the ceremony was kept low-key, photos and clips have since surfaced online, capturing heartfelt and joyful moments from the celebration.

Ati-Zigi, who currently plays for FC St. Gallen and is regarded as one of Ghana’s top goalkeepers, looked elegant in a classic suit, while his bride, Perihan Kirli, stunned in a graceful wedding gown that reflected simplicity and sophistication.

The marriage marks a new chapter in the footballer’s life, as he continues to build a solid reputation both on and off the pitch as one of the more reserved figures in Ghanaian football.

Fans and well-wishers have since flooded social media with congratulatory messages, celebrating the Black Stars shot-stopper as he embraces his new role as a husband.

The Los Angeles County medical examiner’s office on Wednesday announced that they’d ruled Celeste Rivas Hernandez’s death a homicide, noting that the 14-year-old died of injuries caused by an undisclosed object or objects.

She was found dead in the front boot of a Tesla registered to TikTok star D4vd, 21, in September. The singer is facing several charges in her death, including murder.

D4vd, whose real name is David Anthony Burke, has pleaded not guilty. His attorneys say they will “vigorously defend his innocence”.

The musician’s defence team has said it believed the “actual evidence will show that David did not kill Celeste” and he was not the cause of her death.

“We will vigorously defend David’s innocence,” his attorneys, Blair Berk, Marilyn Bednarski and Regina Peter, said in a statement to the BBC.

Investigators at the medical examiner’s office had examined Rivas Hernandez’s body shortly after she was found in September and determined the cause and manner of death on 9 December, but were barred from releasing it publicly as police investigated the case.

“After several months, I am grateful this information can now be released, not only to the public, but also to the grieving family enduring loss,” Chief Medical Examiner Dr Odey Ukpo said in a statement.

“It is unfathomable they have had to wait this long to learn what happened to their daughter,” said Ukpo, who had criticised the decision to hold off on releasing their findings.

Rivas Hernandez’s family made their first public statement about her death this week, following Burke’s arraignment in court on Monday.

They thanked the police, prosecutors, and residents of their community, Lake Elsinore, for their support over the months.

“Celeste was a beautiful, strong girl who loved to sing and dance. Every Friday night was movie night, and we spent wonderful times together,” her parents, Jesus Rivas and Mercedes Martinez, said in a statement.

“We love her very much, and she always told us that she loved us. We miss her deeply. All we want is Justice for Celeste.”

Family attorney Patrick Steinfeld, in a statement to the BBC, said that the family was “devastated after hearing the gruesome details that came out in David Burke’s arraignment”.

At a news conference, Los Angeles District Attorney Nathan Hochman said the teen went to Burke’s home in the Hollywood Hills on 23 April 2025 and “she was never heard from again”.

“A parent’s nightmare is a situation where your daughter goes out one night and never comes back,” Hochman said.

Her parents had reported her missing in April, but it wasn’t until September that she was found dead. More than seven months passed after that before police arrested the Romantic Homicide and Here With Me singer in Los Angeles last week.

The singer, who was detained by police and has been held without bail since, largely retreated from public life after the teen’s body was found in his car last year. His world tour was cancelled and deals he had with brands were also reportedly axed.

Los Angeles Police Department Chief Jim McDonnell on Monday defended his agency’s handling of the case and why it took so long to make an arrest.

“I want to be clear about something. My duty is not to fuel speculation. It’s to deliver justice, and that requires patience and discipline on everybody’s part,” he said.

“This investigation was driven by a single purpose to secure justice for Celeste Rivas and for those who loved her. We had to be certain that nothing we did or said would ever jeopardise this case.”

He added that conditions of the teen’s body delayed determining her cause of death because a “substantial amount of time” had passed between her death and the discovery of her body, which made evidence degrade or disappear.

Hochman, too, noted issues in the case that delayed the filing of charges. Asked by the BBC about those issues, he outlined the difficulties in interviewing multiple people, some of whom were “cooperative” and some who weren’t, plus looking at all the evidence.

“It’s the type of case that you go to get maximum information,” he said, asking anyone with any additional information to come forward.

Kubala King, 36, who also calls himself “King Atehene,” was removed from the United Kingdom after authorities determined he had overstayed his visa, bringing an end to months of controversy surrounding his activities in the Scottish Borders.

Kubala King, together with his wife, “Queen Nandi” (known privately as Jean Gasho), and an associate, Kaura Taylor, had settled on a forested area in Jedburgh, claiming they were reclaiming territory they believed belonged to their ancestors.

Authorities issued an eviction notice in August 2025 after confirming that the group was occupying private land without authorisation.

Although they later moved to a nearby site owned by the Scottish Borders Council, enforcement action continued, eventually leading to immigration checks and his removal from the country.

Following his deportation, Kubala King arrived in Ghana and made bold declarations about his intentions.

“Ghana is about to change. A new wave from the Kingdom of Kubala. All the police are going to serve me, all the chiefs are going to bow before me. If you have a president, he has to come and kneel before me,” he said.

His remarks have since sparked widespread reactions, with many questioning the basis of his claims and the implications of his statements.

Speaking in an interview on Neat FM, the singer said he believes having more than one wife can provide emotional balance and reduce stress in relationships.

According to him, polygamy offers a way to manage challenges that may arise in a single relationship, arguing that “if one side gives trouble, the other will give peace.”

Kwaisey Pee explained that, in his view, the arrangement could help reduce heartbreak and the emotional strain often associated with romantic relationships, suggesting that multiple partners may create a form of stability.

However, he clarified that he is not currently practicing polygamy but may consider it in the future.

His comments have since stirred public debate, with discussions centred on cultural norms, personal beliefs, and modern perspectives on marriage.

While polygamy is culturally accepted in some Ghanaian communities, it remains a contested topic, particularly in urban settings where monogamy is more widely practiced.

Speaking to Kwame Dadzie on Showbiz A-Z on Joy FM, the President of the Union, Bessa Simons, and Second Vice President, Abena Ruthy, clarified that MUSIGA was not represented at the funeral.

According to them, Maame Tiwaa, like her music partner Yaw Sarpong, was not a member of MUSIGA in good standing. They stressed that the donation made at the funeral did not come from MUSIGA but from a different group, which included one of MUSIGA’s key leaders.

“The representation that did the donation wasn’t MUSIGA. The thing is, a lot of us in the industry play multiple roles. For example, I am Second Vice President for MUSIGA, I am President for Women in Gospel Music. If I stand somewhere and someone is introducing me, the person might introduce me with both titles. So that is exactly what happened in this case.

The Chairperson for Ashanti Region MUSIGA, Augustina Addison, is the financial secretary or so for Legendary Musicians. Maame Tiwaa was part of the group so they went to do that asiedie for their member. Now the MC, seeing Madam Addison from MUSIGA, decided to introduce her as such and went ahead to say that the donation was from Legendary Musicians,” Abena Ruthy narrated.

She noted that some people relied on only a portion of a video that went viral on the internet in drawing conclusions.

Meanwhile, they indicated that MUSIGA, on humanitarian grounds, offers support in various ways to musicians who may not be members or are not in good standing.

They explained that, as musicians, they sometimes attend such funerals to show solidarity without necessarily being bound by the union’s welfare and insurance obligations.

“We get people coming to us. The last one that happened, a young man came to us and said his dad was dead and that he wanted MUSIGA to play a role in the funeral,” she said.

According to Bessa Simons, although the deceased was not in their records as a registered member, MUSIGA assisted in securing a state-assisted funeral.

They added that when a MUSIGA member passes, the union donates not less than GH₵5,000.

MUSIGA also has pension and insurance schemes in place to support members in times of need, death, or incapacitation.

The engagement, which took place on April 22, 2026, follows a statement issued by the Bank on April 20, 2026, responding to concerns raised by creators about the processing of their earnings.

Dr Asiama assured the content creators that the Bank values their work, comparing it to key export sectors such as cocoa.

“Therefore, if you have any issues with your payouts, we are ready to help,” the Governor said. “We are making ourselves accessible so that we resolve all the issues that you have.”

He also encouraged them to form a formal association to facilitate structured engagement and quicker resolution of challenges.

“We are interested in what you are doing and will do everything to facilitate your work,” he added.

The Bank of Ghana reiterated that, under existing foreign exchange regulations, service export proceeds may be received through Foreign Exchange Accounts held with banks in Ghana or credited into Ghana Cedi accounts, provided all transactions comply with regulatory requirements.

“These aren’t just clothes, they are part of my history,” the Queen of Pop wrote on Instagram.

Among them were the purple jacket, corset and dress she wore during her surprise guest appearance with Sabrina Carpenter at the California event on Friday night.

“I’m hoping and praying that some kind soul will find these items and reach out to my team,” Madonna wrote, adding that she was “offering a reward for their safe return”.

The outfits are particularly special to the singer because she wore the same boots, corset and jacket during her Coachella performance 20 years ago.

“It’s like a full-circle moment, very meaningful for me,” she told the crowd as an adoring Carpenter looked on.

Several other items from Madonna’s personal archive “from the same era” have also disappeared, she wrote.

In a statement, the Indio Police Department said clothes and jewellerywere last seen “on a golf cart” on the festival grounds at 01:30 local time on Saturday.

It added that there was “no evidence to suggest the bags were intentionally stolen”, but they may have fallen off the cart on the way to being loaded onto a bus.

During the performance, Madonna and Carpenter sang duets of Vogue and Like A Prayer.

Madonna also debuted a song from her forthcoming album Confessions II, a sequel to 2005’s Confessions On A Dancefloor, which is due to be released in July.

Speaking in an interview on Hitz FM’s Daybreak Hitz, the rapper disclosed that the production cost him about GH¢3 million, describing the event as one of the most ambitious projects of his career as an independent artiste.

According to Medikal, the BYK concert stands out as a defining moment in his journey, not only because of the scale of execution but also because he largely financed and drove the entire production himself at the national stadium.

He claimed the event pulled a crowd of over 40,000 people, filling the stadium to its capacity, with fans reportedly travelling from different parts of Ghana as well as neighbouring countries including Togo and Nigeria to witness the show.

Medikal argued that the turnout reflects his influence, consistency and relevance in the music space, for which he deserves greater acknowledgment.

Beyond the concert, he asserted that his contribution to Ghana’s music scene extends far beyond recording songs. He noted that he has continuously invested in shows, created platforms and helped push emerging artistes into the spotlight.

“I deserve my credit in this industry. I put in so much work bringing out songs and putting so many people on,” he said, maintaining that his efforts have not been fully appreciated.

His comments are part of a broader campaign push ahead of the Telecel Ghana Music Awards, where he is positioning himself strongly in the race for Artiste of the Year.

Watch video below;

Speaking on Daybreak Hitz on Hitz FM, he revealed that about a decade ago, he received seven nominations, including Artiste of the Year, but walked away without a single award.

“I got seven nominations and won nothing, but it didn’t break me,” he said.

According to him, such moments have caused many artists to lose momentum or completely fade from the spotlight.

He explained that some musicians tend to snub award schemes after such disappointments, distancing themselves from the system, but over time, many of them “fall off.”

Medikal, however, chose a different path.

Rather than letting the setback define him, he used it as motivation to work harder, remain relevant and continue building his career.

He described himself as a “proud product of failure,” stressing that the experience toughened him and strengthened his determination.

Today, he finds himself back in strong contention, earning eight nominations a decade after the disappointment—something he believes is proof of his consistency and growth.

“I’m a proud product of failure, and now I’m back with eight nominations, better than 10 years ago,” he added.

He noted that despite the earlier setback, he never gave up on his craft and remained focused, which has kept him active and competitive in the music scene.

Speaking on Daybreak Hitz on Hitz FM, Medikal addressed critics who question why artists make so much noise about the awards.

He said he often sees comments online suggesting that the TGMA is “just a Ghana award,” but he strongly disagrees with that perception.

According to him, the TGMA is as important to him as the GRAMMYs, the FIFA World Cup or the Ballon d’Or are on the global stage.

“TGMA means a lot to me. It’s my GRAMMYs, my FIFA World Cup, or the Ballon d’Or,” he said.

He stressed that his passion and strong advocacy are driven by his commitment to his fans and his craft.

Medikal also pointed out that some artists tend to downplay or snub award schemes, noting that over time, many of them lose relevance in the industry.

For him, taking the awards seriously is part of staying competitive, visible and connected to his audience.

The visit saw a total of 101 female inmates benefit from the gesture, with each receiving GH¢100 as part of her act of appreciation and continued outreach to the prison community.

Mama Pat’s visit comes after her release following a court ruling that reduced her 15-year sentence to one year, a development that drew widespread public attention.

She was accompanied by her husband and members of her congregation, who joined her in the outreach programme inside the prison.

Speaking during the engagement, she expressed gratitude for her freedom and indicated that the donation was a way of giving back and showing solidarity with inmates still serving their sentences.

She also pledged further support in future visits, describing the inmates as her family.

The donation was warmly received by the inmates, who expressed appreciation for the gesture and the encouragement offered during the visit.

The exercise, which began on Monday, April 20, 2026, forms part of efforts to ensure that facilities comply with required public health, safety and operational standards while protecting the wellbeing of patrons.

According to the Authority, the inspection will cover a wide range of establishments, including chop bars, food vendors, drinking bars, pubs, fast food outlets, snack bars and outdoor catering services.

Operators have been urged to cooperate fully with officials conducting the exercise, noting that all inspectors will carry valid identification cards for verification.

The Authority also advised business owners to ensure that their licences and other relevant operational documents are up to date to avoid sanctions.

Additionally, it reiterated that ongoing regulatory efforts to improve standards and promote professionalism within Ghana’s hospitality and tourism sector will be strictly enforced.

Davido, who made the disclosure during a viral interview on The Breakfast Club, said he would prefer his children to work in his father, Deji Adeleke’s, companies.

The singer attributed the decision to his own past struggles before his breakthrough in the music industry, noting that working in his father’s businesses would make life easier for them.

Narrating how his father’s initial refusal to support his music career “killed his joy” before his breakthrough, Davido said he would still support any of his children who choose to pursue entertainment.

Interviewer: “Do you want your kids to be in this industry or would you prefer your kids to work with grandpa?”

Davido responded: “Omo, go and work with my dad. Every Christmas, my dad takes all the grandkids with him. And I can just see that, among all the things he has, including multiple private jets and all that, his happiness is seeing his grandchildren.

“And my father is single. So I just saw his happiness and I’m like, this is what life is all about. My dad not wanting me in the entertainment really killed my joy until he saw that this boy is really adamant about doing this. I wouldn’t want to do that to my kids as well. My daughter is already singing and dancing,” he said.

According to the lawyer, Sani Abdul Salam, efforts are underway to obtain a certified true copy of the court’s ruling to enable them to commence the execution of the bail conditions as required by law.

He explained that the bail was granted to ensure the accused person’s availability in court as and when his extradition and related proceedings resume.

The lawyer indicated that the defence team is working to ensure full compliance with the court’s directives.

Abu Trica remains in custody despite the ruling, as he is still challenging efforts to extradite him over allegations linked to an $8 million romance scam and wire fraud case.

The next trial date is yet to be announced.

The bail decision comes at a time when the court is actively handling competing applications in the matter, including earlier proceedings in which his legal team sought to halt extradition.

The Gbese Circuit Court had previously dismissed an application to stop the extradition process and instead directed that he could be handed over to United States authorities, while granting him a limited 15-day window to challenge the ruling through a habeas corpus application.

The claims, which have gained traction online, suggest the artiste relies on streaming farms to inflate his numbers, especially given perceptions that his songs receive limited radio airplay and DJ rotation.

However, speaking in an interview on Hitz FM, Jay Bahd rejected the assertions, insisting he has a strong base of loyal fans who actively stream his music.

According to him, his sound is tailored to a specific audience, particularly fans of the Asakaa genre, noting that what may not appeal to some listeners resonates strongly with his core supporters.

Responding to critics, Jay Bahd said they are entitled to their opinions, adding that it does not in any way diminish his impact among his fanbase.

He also pushed back on claims that he lacks airplay, stating that his music does receive support from sections of the media.
Watch video below:

Speaking on Daybreak Hitz on Hitz FM, he explained that his relationship with God is personal and does not depend on religious structures.

“I’m not a Christian and I do not go to church, but I believe in God and Jesus Christ,” he said.

According to him, he prays daily and believes his body is the temple of God, emphasising that he does not necessarily need to be in a church building or pay tithes to have a connection with God.

Jay Bahd stated that his faith influences his music, noting that he believes God speaks through him during his creative process.

“I know my body is God’s temple, and He speaks through my music,” he added.

He further noted that before recording, he seeks divine direction and aligns himself with what he describes as God’s message.

The decision marks a significant turn in proceedings after an earlier ruling in which the court dismissed an application by his legal team seeking to halt the extradition process.

Following that decision, the court directed that Abu Trica be handed over to United States authorities to commence extradition proceedings. However, he was granted a 15-day window to challenge the directive through a habeas corpus application at the High Court.

At a previous sitting, the court had scheduled April 27 to hear his bail application, as his lawyers pursued efforts to secure his release pending a motion to have him discharged.

The latest ruling now grants him temporary freedom under strict bail conditions while legal proceedings continue.

The case remains ongoing, as his legal team is expected to challenge aspects of the extradition process in the coming days.

More soon…

In a post on social media, she revealed that the incident occurred while she was playing on a trampoline with her daughter. She said she landed on her neck and immediately heard several popping sounds, prompting an emergency response.

According to her account, she was taken to two hospitals where medical teams conducted multiple scans. Doctors later confirmed that she had suffered a fractured neck, herniated discs and trauma to areas of her spine that could have led to paralysis.

Sarah Jakes Roberts described the situation as a close call, noting that the outcome could have been far more severe if the injury had occurred slightly differently.

Despite the seriousness of the incident, she said she will not require surgery at this time. Instead, she has been placed in a neck brace, which she is expected to wear for four to six weeks as part of her recovery. The treatment plan also includes rest and limited movement to allow her body to heal properly.

Throughout the experience, she expressed gratitude for what she described as divine protection, as well as the support of her family and loved ones.

Known for her leadership in ministry and women’s empowerment, Sarah Jakes Roberts is the founder of Woman Evolve and co-senior pastor of The Potter’s House alongside her husband Touré Roberts. She is also the daughter of renowned bishop T. D. Jakes.

Her update drew widespread concern and support from followers across social media, many of whom shared messages of encouragement as she begins her recovery.

Sarah Jakes Roberts indicated that she will be taking time to rest while continuing to navigate the healing process.

Speaking on Daybreak Hitz on Hitz FM, he described the moment as a major milestone for the genre and the movement behind it.

According to him, Ghana Drill—introduced by the Asakaa collective—started as an underground sound with little recognition but has since grown into a global phenomenon.

He noted that seeing the genre acknowledged on such a prestigious platform was a proud moment for him and the entire movement.

“I was very, very happy when they recognized it,” he said.

Jay Bahd added that even though they did not win an award, the recognition itself felt like a victory.

He emphasized that the acknowledgment validated their hard work and showed that their efforts are being noticed on the global stage.

“Even though we didn’t win, the recognition alone felt like a Grammy, and it shows our hard work is being seen,” he added.

In a message shared with family, friends and fans, the artiste disclosed that November 18 will no longer be observed as his birthday celebration day, adding that he will not be accepting messages or gifts on that date.

He further stated that his new birthday celebration date will now be November 30, describing the decision as personal.

“Dear Family, Friends and Fans,

I’m making it official. November 18 is no longer my birthday celebration date. Please note that I will not be accepting any messages or gifts on that day.

My birthday will now be celebrated on November 30. This is a personal decision, and I truly appreciate your understanding.

Thank you all,” he stated.

Dear Family, Friends, and Fans,

I’m making it official. November 18th is no longer my birthday celebration date. Please note that I will not be accepting any messages or gifts on that day.

My birthday will now be celebrated on November 30th. This is a personal decision, and I… pic.twitter.com/93g6bpR1ew

— Mr Psquare (@PeterPsquare) April 20, 2026

Speaking on Daybreak Hitz on Hitz FM, he explained that his childhood passion was sports, particularly football, and he initially aspired to build a career in the game.

According to him, he was actively involved in football during his early years and never envisioned himself becoming a musician, even though he had the ability to sing while in high school.

RCee noted that his interest in music began when he observed his peers rapping and became confident that he could do better.

He added that his friends eventually encouraged and pushed him onto the stage to perform, an experience that marked a turning point in his life.

He said the positive response from the audience made him realize his potential in music, which ultimately set him on a new career path in the entertainment industry.

According to the central bank, such inflows are permitted under existing foreign exchange regulations. Creators can receive these earnings through Foreign Exchange Accounts (FEA) held with banks in Ghana or directly into Ghana cedi accounts, provided transactions comply with all regulatory requirements.

The BoG acknowledged concerns raised by some creators about difficulties in accessing their funds. It noted that when transactions are processed correctly, such challenges should not typically occur.

The Bank added that it is currently reviewing the situation and engaging relevant institutions to identify the source of the issues and ensure a swift resolution. It also assured stakeholders of continued engagement throughout the process.

The BoG reaffirmed its commitment to maintaining a stable and supportive financial system that facilitates legitimate cross-border transactions, including digital earnings classified as service exports.

According to a statement, the new single is a deeply reflective and prayerful piece that expresses a longing for divine encounter, centred on themes of faith, dependence on God, and spiritual transformation.

Ahead of the official release, Lordina will host an exclusive pre-release event dubbed “Show Me Your Glory: The London Listening Experience.” The event is scheduled for Wednesday, April 29, 2026, at 7:00pm at the International Praise Church London.

Organisers say the event will offer a unique, worship-focused experience rather than a traditional concert, featuring hymns, scripture readings, prayer, and live ministration. Attendees will also get the opportunity to listen to the new single for the first time in an intimate and spiritually engaging setting.

The event is expected to attract a limited number of participants, with interested guests encouraged to secure bookings early.

The upcoming release marks another milestone in Lordina The Soprano’s musical and ministry journey, reinforcing her commitment to producing music that blends artistic excellence with deep spiritual impact.

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Nsoromma Season 8 lights up screens with thrilling performances from contestants [Photos]

AI has nothing to do with spirit – Joe Mettle dismisses concerns in gospel fraternity

All 12 contestants brought their A-game, treating audiences to a night of powerful vocals, impressive stagecraft and musical versatility as they battle for a place at the top.

Safowaa set the tone with a soulful rendition of “Obiaa” by Akwaboah featuring Cina Soul, while Soft Lyf delivered a rich highlife performance of “Oman Bo Adwo” by Nana Kwame Ampadu.

God Son impressed with “Meridian” by Wulomei, as Iron Girl electrified the stage with “Crazy Love” by Wendy Shay.

Obaapa Grace showcased vocal strength with “Walahi” by Kuami Eugene, while Selorm The Wonder delivered a smooth performance of “Life (Walaahi)” by R2Bees.

Ghana Besiaba thrilled with “Dada Dida” by Rex Omar, and Kobby kept the momentum with “Christie” by Double.

Lady Nash enchanted the audience with “Odo Mu Anigye Bi” by Dada KD, while Mighty energized the crowd with “Ewor Me” by King Paluta featuring Kwabena Kwabena.

Mel Rhymez delivered an intense performance of “They Don’t Care About Us” by Michael Jackson, and Ohemaa Doris wrapped up with a vibrant rendition of “Come and See My Mother” by MzVee.

With such high-level performances, the competition is already heating up, setting the stage for what promises to be a fiercely contested and entertaining season.

Speaking on the changing dynamics of the music industry, the “Bo Noo Ni” hitmaker rejected claims by some gospel artistes that AI is “unspiritual.” According to him, the spiritual depth of any song depends on the heart and intention of the individual using the technology, not the system itself.

Addressing concerns within the gospel fraternity, he explained that AI functions through data processing and sampling. Therefore, if a spiritually grounded person provides the input, the output will reflect that same intention.

“I’ve had conversations with some of my friends who are also gospel ministers who sometimes say AI is not spiritual, but I think if you understand how it works, you realise that it has nothing to do with spirit,” he said. “The sound you feed it is the sound it produces for you.”

Inside His Creative Process

Sharing insight into his workflow, Joe Mettle revealed that he has already incorporated AI into his music production—but with a strong emphasis on human input.

Rather than relying on AI to create full songs, he uses it as a support tool. He and his producer first handle the core elements, including lyrics, melodies, and arrangements, before using AI to assist with additional components like drums, bass, or strings.

“I do the lyrics, the arrangements, everything and then sometimes you insert it. So in this case, AI wasn’t the one that did it. What AI did was extract the rest of the music in terms of like the drum and the bass,” he explained.

Caution On Copyright Risks

Despite the advantages, the award-winning artiste cautioned musicians about the potential dangers associated with fully AI-generated content.

He noted that such outputs often carry identifiable digital markers, making them detectable by online systems. This could lead to copyright issues, including the loss of ownership rights if the work is not properly modified or humanised.

“When you put an AI system back into the online [space], the same AI can generate and let you know that you did not do that work… AI will start punching out people’s songs,” he warned.

Call For Industry Conversation

Joe Mettle concluded by urging stakeholders in Ghana’s music industry to engage in meaningful discussions about AI. While he acknowledged its ability to enhance production speed and creativity, he stressed the need for careful and informed use to avoid legal and artistic challenges.

“It’s a subject that needs to be discussed. It has a lot of advantages. Trust me, a lot,” he added.

Speaking in an interview on Okay FM on 16th April 2026, the award-winning musician attributed the longevity of his relationship to commitment, insisting that juggling multiple partners is a waste of time.

He disclosed that his relationship with his wife spans more than two decades, combining both courtship and marriage.

“We have been married for the past 17 years, but we dated for four years, so in total, we have been together for 21 years. I haven’t had any extramarital affairs in my marriage. There is no way I can cheat on my wife,” he said.

The rapper further dismissed any possibility of undisclosed paternity, maintaining that no one could legitimately claim to be his biological child outside his marriage.

He explained that he has consistently advised his daughter to treat such claims with scepticism, particularly if they come from anyone below a certain age.

“I have been telling my daughter that if anyone comes claiming that I am the father, the person should be at least 22 years old.

Anyone who comes claiming that I am the father and is less than 22 years old is a liar. They should go and conduct a DNA test. There is no one I have cheated on my wife,” he added.

Over the years, Okyeame Kwame has publicly expressed deep affection for his wife, Annica Nsiah-Apau, often celebrating her in interviews and on social media.

He has repeatedly described her as his best friend and a key pillar in his life, and has highlighted their partnership in campaigns and public appearances that promote healthy family values and responsible living.

Speaking in an interview on Prime Morning on Joy Prime, Nana Ama described her work with Lord Kenya as her “first breakthrough,” explaining that it gave her the visibility she needed to grow in the industry.

According to her, the recognition she gained from that collaboration opened doors, with many industry players beginning to associate her name with the veteran artiste.

“After my breakthrough with Lord Kenya, people started attaching my name to him. They used to refer to me as Nana Ama Lord Kenya,” she said, adding that the connection often worked in her favour when she entered new studio spaces.

She explained that her career growth was largely organic, driven by word-of-mouth and exposure rather than formal recommendations.

Nana Ama recounted that during studio sessions, other musicians would often take notice of her voice and inquire about her identity, only to realise she was the same vocalist linked to Lord Kenya.

That recognition, she noted, led to more opportunities to work with a wide range of artistes across different genres, including gospel and secular music.

Over time, she has collaborated with several acts, including Darcelle, Yaw Dabo, VIP and others, steadily building a reputation as a versatile and reliable backing vocalist.

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