The 33-second clip, filmed at a lively outdoor ceremony believed to be in Ghana, captures the bride’s brothers adjusting her veil, touching up her makeup, and dancing enthusiastically to Afrobeat music as family members cheer them on.

Viewers applauded the strong sibling connection, with many noting how the brothers outshone traditional bridesmaids with their energy and dedication.

Commenters also highlighted the theme of loyalty, praising the bride for choosing family over what some described as “eye-service friends.”

Others enjoyed the playful reversal of gender norms, with one user joking that the brothers proved “what a woman can do, a man can do best.”

Anh anh! You go know say the kain relationship between the bride and her brothers really strong. She chose her brothers as her bridesmen, no bridesmaids in sight 👀 pic.twitter.com/1ZsVgbl40s

— TENIOLA (@Teeniiola) January 25, 2026

Building on the momentum of a blockbuster opening day on Friday, Saturday’s activities sustained the high energy that has defined the Multimedia Group activation, transforming the mall into a buzzing hub for families, shoppers, and fans of Joy Brands.

Day Two began on an active note with a well-attended health walk, setting the tone for a full day of engagement.

The excitement peaked as popular voices from Joy FM’s Super Morning Show, alongside presenters from JoyNews and Joy Prime, broadcast live from the venue, interacting directly with patrons and bringing the celebration closer to audiences across the country.

Attendees enjoyed celebrity meet-and-greets, photo opportunities, and live on-air interactions, while the ever-popular Joy Shout-Out segment and interactive games kept crowds entertained, with participants competing for bigger and better prizes.

Retailers across the mall also played a major role in the day’s success, offering exclusive discounts on fashion, electronics, and groceries, all against a backdrop of non-stop music curated by Joy FM’s top DJs.

As Day two comes to a close, Joy at The Mall has firmly established itself as the weekend’s go-to destination for fun, entertainment, and great shopping.

The excitement continues on Sunday, January 25, with the final day of the activation at the Achimota Retail Centre.

Yaw Sarpong passed on Tuesday, January 20, 2026, while Maame Tiwaa, his celebrated backing vocalist and member of the Asomafo music group passed away on Sunday, December 7, 2025.

In a statement, the Ministry extended its sympathies to their families, colleagues and admirers, describing the loss as a painful moment for Ghana’s creative and spiritual community.

The Ministry said the pair’s musical journey left a lasting imprint on gospel and choral music in the country, helping to shape generations of performers and worshippers.

Yaw Sarpong was eulogized for his passion, discipline and mentorship, noting that through the Asomafo group, he raised many musicians and broadened Ghana’s cultural and Christian music heritage.

It also highlighted the unique bond between Yaw Sarpong and Mary Tiwaa, saying their collaboration produced timeless works that will continue to influence the creative arts space for years to come.

“Though they are gone, the impact of their music and service to the nation remains alive in the Creative Arts Sector and beyond,” the statement noted.

The Ministry assured the bereaved families of its support as Ghana mourns two towering figures in gospel music.

ALSO READ:

• Legendary gospel musician Yaw Sarpong passes on

• Bishop J.Y. Adu makes interesting revelation after Yaw Sarpong’s death

According to the organisation, the decision to transition Agbeko from institutional care was reached collectively, with all parties prioritising his well-being, dignity and continued support in a familiar environment. He remains surrounded by family members and those closest to him.

VRMG explained that it became involved during a difficult period in Agbeko’s life and offered rehabilitation support out of concern for his safety and access to appropriate care. The organisation noted that the assistance was provided in good faith and in close coordination with those directly responsible for his welfare.

The organisation also expressed gratitude for the concern and goodwill shown by members of the public, industry colleagues and well-wishers throughout the period, describing the support as a reflection of empathy and shared responsibility within the creative community.

VRMG wished Agbeko continued strength and recovery and respectfully appealed for the privacy of him and his family to be respected at this time.

He rather intimates that the artiste was only restricted from using specific footage owned by the label.

Mr Amable made the clarification during a Joy FM X Spaces conversation hosted by Kwame Dadzie on Thursday, 22 January 2026.

His comments follow allegations by Kwesi Arthur in a social media post that Ground Up Chale had barred him from using his images and claimed ownership over him.

“I am currently being asked to pay $150,000 for using images of MYSELF for this current project. Ground Up claims to own me, my image, my music and everything attached to it from 2016 to this day,” Kwesi Arthur wrote.

According to the lawyer, the artiste was only prevented from using particular footage produced by Ground Up Chale during the period they worked together.

“Everything that was created within that period was owned by Ground Up,” he said.

Mr Amable also dismissed Kwesi Arthur’s assertion that he earned nothing from his works while signed to the label.

As proof, he read portions of email correspondence between the parties which, he said, showed that the artiste had received royalties.

“In that email Glen details payments that had been made to Kwesi which he never disputed. It says ‘to date, you have benefited from £91,370 in royalty disbursements,” he said.

The lawyer further claimed that Kwesi Arthur received $118,712 from Platoon, a music distribution company, for his Son of Jacob album without paying Ground Up Chale its share.

He added that Kwesi Arthur signed with Ground Up Chale in 2017 for four years and later renewed the contract for an additional two years.

On Wednesday, 21 January 2026, Kwesi Arthur accused music executive Glen Boateng and members of the Ground Up Chale team of intimidation, financial demands and attempts to block his independent music releases in a strongly worded social media post that triggered widespread reaction within the entertainment industry.

In the post, the award-winning artiste alleged that he was being asked to pay $150,000 to use images of himself for a current project and warned that his safety could be at risk amid an ongoing dispute with his former management.

“If anything happens to me Glen Boateng and all team members of Ground Up Chale are responsible and should be held responsible,” Kwesi Arthur wrote.

The rapper, who rose to prominence under the Ground Up Chale collective, said he has not worked with or had any affiliation with the company since the release of Son of Jacob.

Despite this, he claimed he had earned nothing from music released during the period he was with the outfit.

“Although I have not worked or had any affiliation to the company since Son of Jacob, I have not made a dime from any of my music within the period I worked with them for years now and receive constant threats and manipulation from Glen who is living off of my money and hard work,” he stated.

Kwesi Arthur further alleged that deliberate efforts were being made to frustrate the release of his independent work, warning fans that any takedown of his current project should be blamed on his former manager.

“If for whatever reason this project that I am trying to give to my fans independently gets taken down, know Glen is responsible,” he wrote. “He is working constantly around the clock for me to never put out music again.”

The artiste said he had remained silent for a long time despite the personal toll the situation had taken on him, but decided to speak out for safety reasons.

The confirmation followed an official registry search conducted as part of the legal process to manage the estate of the celebrated artist.

The search aimed to determine whether the late musician had filed a will with the High Court, including details such as the filing date, the person who submitted it, and the lawyer who prepared it.

However, the registry’s response, dated January 19, 2026, at 2:37 pm, revealed that “there is no record of any will deposited by Daddy Lumba.”

The document, signed and stamped by the Registrar of the Probate and Administration Division, confirmed that no such record exists in the court’s registry.

The absence of a registered will means the estate of the late musician may have to be administered under Ghana’s intestate succession laws unless a will emerges from another source.

This development introduces additional legal considerations for the family and representatives managing his affairs.

Daddy Lumba, renowned for his enduring contributions to Ghanaian highlife music, passed away leaving behind a rich musical legacy. His death continues to draw attention to the management of his estate, especially given his status as one of Ghana’s most influential music icons.

On Adom 106.3 FM, love now comes with terms and conditions.

Adom FM has officially launched Kyerɛwodɔ 2026, and this year’s theme is boldly titled Ɔdɔ Contract; Wodɔ me a, saeni”, to wit, “love contract; sign it if you love me”.

It is a fun, daring concept that turns relationships into a playful agreement partners must either accept or reject live on radio.

The idea is simple but wildly entertaining. If you’re married or dating and believe your love is strong, Adom FM is giving you the microphone to set the rules of your relationship.

All listeners need to do is send a 30 to 60-second WhatsApp voice note stating the “clauses” they want their partner to sign.

These clauses could be anything from:

“No phone after 10pm”

“No bestie interference”

“Weekly chop money”

Or “One fight per week, no carry go tomorrow”

Once your voice note is selected, the real drama begins. Adom FM will call your partner live on air to decide, do they sign the ɔdɔ contract or reject it?

Couples whose love survives the contract test stand a chance of being selected for Adom FM’s special Valentine’s Day fun event, with exciting rewards and sponsor giveaways up for grabs.

“We are a radio station that is noted for the creativity that our clients can leverage to reach their audience and Kyerɛwodɔ, the Ɔdɔ Contract version is just one of those things that Ghana has come to know us for. I therefore want to encourage the whole of Ghanaians and all businesses to join in the fun ahead of this year’s Vals Day because there is something special for everyone”, Joshua Tigo, Adom FM’s Programmes Manager has said.

With its signature humour, relatability and bold listener engagement, Ɔdɔ Contract reinforces Adom FM’s position as the station that understands real relationships – sweet, messy, funny and honest.

Mr Tigo encouraged listeners not to overthink it as the process is simple.

If the love is real, then prove it by sending your WhatsApp voice notes to 0531003813 and be part of Adom FM’s unforgettable Valentine’s experience.

Ɔdɔ Contract… wodɔ me a, saeni!

In a press release dated January 21, 2026, the Park endorsed a recent appeal by a coalition of concerned citizens, describing Dr Nkrumah as Ghana’s founder and Africa’s foremost Pan-Africanist.

According to KNMP, as the country’s principal international gateway, the national airport should reflect Ghana’s highest ideals, values, and historical foundations.

“Dr Kwame Nkrumah’s unparalleled contribution to Ghana’s independence, statehood, and Pan-African unity makes him the most fitting symbol to welcome the world to our beloved country,” the statement said.

The Park argued that renaming the airport is not merely symbolic but a moral imperative, emphasizing that national honours should reflect truth, justice, and Ghana’s collective identity.

It further noted that the airport currently honours a figure associated with the overthrow of Dr Nkrumah, describing the situation as contradictory and troubling.

“This contradiction sends a dangerous signal and normalizes betrayal, subversion, and moral bankruptcy,” the statement added.

The KNMP reiterated its call to rename the airport in honour of Osagyefo Dr Kwame Nkrumah, whom it described as Ghana’s founder and the African man of the millennium.

Jonathan K. Amable, counsel for Ground Up Chale, described the claims as false during a Joy FM X Spaces conversation hosted by Kwame Dadzie on Thursday, 22 January 2026.

Backing his position, the lawyer read portions of email correspondence between the parties which, he said, showed that Kwesi Arthur had received royalties from his music.

“In that email Glen details payments that had been made to Kwesi which he never disputed. It says ‘to date, you have benefited from £91,370 in royalty disbursements,” he said.

Mr Amable further claimed that Kwesi Arthur received $118,712 from Platoon, a music distribution company, for his Son of Jacob album without paying Ground Up Chale its share.

He also dismissed suggestions that the company had prevented the artiste from using his images. According to him, Kwesi Arthur was only barred from using specific footage produced by Ground Up Chale during their working relationship.

“Everything that was created within that period was owned by Ground Up,” he noted.

The lawyer added that Kwesi Arthur signed with Ground Up Chale in 2017 for four years and later renewed the contract for an additional two years.

Kwesi Arthur had earlier accused music executive Glen Boateng and members of the Ground Up Chale team of intimidation, financial demands and attempts to block his independent music releases in a strongly worded social media post that triggered widespread reaction within the entertainment industry.

In the post, the award-winning artiste alleged that he was being asked to pay $150,000 to use images of himself for a current project and warned that his safety could be at risk amid an ongoing dispute with his former management.

“If anything happens to me Glen Boateng and all team members of Ground Up Chale are responsible and should be held responsible,” Kwesi Arthur wrote.

“I am currently being asked to pay $150,000 for using images of MYSELF for this current project. Ground Up claims to own me, my image, my music and everything attached to it from 2016 to this day.”

The rapper, who rose to prominence under the Ground Up Chale collective, said he has not worked with or had any affiliation with the company since the release of Son of Jacob.

Despite this, he claimed he had earned nothing from music released during the period he was with the outfit.

“Although I have not worked or had any affiliation to the company since Son of Jacob, I have not made a dime from any of my music within the period I worked with them for years now and receive constant threats and manipulation from Glen who is living off of my money and hard work,” he stated.

Kwesi Arthur further alleged that deliberate efforts were being made to frustrate the release of his independent work, warning fans that any takedown of his current project should be blamed on his former manager.

“If for whatever reason this project that I am trying to give to my fans independently gets taken down, know Glen is responsible,” he wrote. “He is working constantly around the clock for me to never put out music again.”

The artiste said he had remained silent for a long time despite the personal toll the situation had taken on him, but decided to speak out for safety reasons.

“I’ve tried to not say anything for a long time though this has affected my wellbeing and mental health greatly but for the safety of myself and my family I choose to publicly share.”

Kwesi Arthur is yet to respond to the claims made by Ground Up Chale through its counsel.

The actor revealed that his father died on Wednesday, January 22, 2026, at the University of Ghana Medical Centre in Accra. The cause of death has not been disclosed.

Peasah shared the news on social media, posting a video capturing his father’s final moments at the hospital.

In an emotional message, he expressed shock and profound grief over the loss.

Fans and colleagues across Ghana’s entertainment industry have offered condolences and messages of support, sharing in the actor’s sorrow.

This comes at a challenging time for John Peasah, who has recently spoken publicly about his own health struggles.

Video below:

View this post on Instagram

A post shared by John peasah (@johnpeasah)

In a lengthy post on X, Nana Aba described Kwesi Arthur’s account as “heartbreaking,” noting that the issues raised go beyond music and reflect a broader systemic problem in the country.

According to her, many creatives sign contracts they do not fully understand, only to realise years later that they have lost control over their work, earnings, and future.

She stressed that Kwesi Arthur’s claims of feeling threatened, manipulated, and financially cornered should not be taken lightly, especially as he also raised concerns about his mental health and wellbeing.

“When individuals or institutions control a person’s work and access to income, they also gain power over their mental state,” Nana Aba said, warning that such dynamics contribute to burnout, depression, and breakdowns among creatives.

She further criticised what she described as a culture that undervalues professional expertise, citing examples from construction, business, and the media, where unqualified individuals are often entrusted with sensitive responsibilities.

Nana Aba urged young people to prioritise competence over familiarity and to seek professional advice, particularly legal representation, before entering binding agreements.

“Kwesi Arthur must LAWYER UP and fight this to the end,” she added.

https://t.co/LVSZLeDs1C

— nana aba (@thenanaaba) January 22, 2026

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‘If anything happens to me…’ – Kwesi Arthur raises concerns in latest post

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Widely regarded as a pillar of the gospel music industry, Yaw Sarpong was celebrated for his decades-long contribution to shaping contemporary gospel music in Ghana through timeless songs that inspired faith and unity.

In recognition of his immense impact, he was honoured with the Lifetime Achievement Award at the 26th Telecel Ghana Music Awards—an accolade reserved for individuals whose work has left a lasting mark on the country’s music landscape.

The GMA noted that although Yaw Sarpong is no longer alive, his music and legacy will continue to live on through the many lives he touched and the generations of gospel musicians he inspired.

He is remembered not only for his musical excellence but also for his commitment to ministry through music.

Yaw Sarpong was a legend in every sense, and his contribution to Ghanaian gospel music will remain etched in history.

View this post on Instagram

A post shared by Telecel Ghana Music Awards (@ghmusicawards)

In the post, the award-winning artiste suggested that his safety could be at risk, stating that if “anything happens” to him, key figures at Ground Up Chale, including co-founder Glen Boateng, should be held responsible.

Kwesi Arthur alleged that he is being asked to pay $150,000 for using images of himself in a new independent project, despite no longer being affiliated with the label.

According to the musician, Ground Up Chale has claimed ownership of his image, music and all creative works associated with him from 2016 to date. He strongly disputed this claim, stressing that he has not worked with the label since the release of his Son of Jacob album and has had no formal affiliation with the company for several years.

The rapper further alleged that he did not earn any income from his music during his time with the label, accusing Glen Boateng of benefiting financially from his work. He also claimed he has been subjected to constant threats and manipulation aimed at preventing him from releasing music independently.

Kwesi Arthur warned that if his upcoming project is taken down, the public should hold Glen Boateng responsible, accusing him of actively working to stop him from putting out music altogether.

Breaking his silence, the musician said the situation has taken a serious toll on his mental health and overall wellbeing. He explained that his decision to go public was to protect himself and his family, and to make the truth known.

As of now, Ground Up Chale and Glen Boateng have not publicly responded to the allegations.

Entries opened in early January and will close on Sunday, 15 February 2026, inviting filmmakers and content creators across the continent to submit their work for consideration.

The AMVCA remains MultiChoice’s flagship initiative dedicated to recognising, celebrating, and rewarding exceptional African storytelling across film and television. The 12th edition will once again spotlight the growth, creativity, and global potential of Africa’s entertainment industry, while reinforcing the AMVCA’s position as the continent’s most prestigious awards platform.

The 12th AMVCA is proudly headlined by Don Julio as Lead Sponsor, marking a continued evolution of the awards into a premium, culturally influential celebration of African excellence, creativity, and craftsmanship.

Building on a legacy of recognising both established and emerging talent, the 12th AMVCA introduces key enhancements that deepen its pan-African reach. Notably, this edition expands its Indigenous Language categories with the introduction of:

• Best Indigenous Language – North Africa
• Best Indigenous Language – Central Africa

These additions reflect the AMVCA’s commitment to Pan-Africanism, cultural preservation, and equitable representation, ensuring that Africa’s diverse languages, regions, and creative voices are more fully celebrated on a continental stage.

The 12th AMVCAs will feature 32 award categories, including 18 jury-decided categories and 11 audience-voted categories, alongside two special recognition awards for Lifetime Achievement and one Trailblazer award. Eligible entries must have been broadcast or publicly screened between 1 January 2025 and 31 December 2025. Feature-length films must have been screened in cinemas, on linear television, and/or on streaming platforms to qualify.

All submissions must be completed online via the official AMVCA portal, with full preview copies uploaded as screened or broadcast. Detailed guidelines, eligibility criteria, and submission requirements are available at www.africamagic.tv/amvca.

Renowned for its celebration of African talent, iconic red-carpet moments, fashion, and cultural impact, the 12th AMVCA promises another unforgettable celebration of African film, television, and creative expression. The awards ceremony will take place in Lagos, Nigeria, in May 2026, with further details to be announced in the coming months.

For more information on submissions, guidelines, and updates, visit www.africamagic.tv/amvca and follow Africa Magic on Facebook and Instagram.

It follows a glittering few years for the 36-year-old pop superstar, who broke her own sales record with her latest album, The Life of a Showgirl, in October.

She is among nine songwriters within the 2026 class, which also includes Canadian-American singer-songwriter Alanis Morissette and Walter Afanasieff, known for his work with Mariah Carey.

The singer will be welcomed into the prestigious club during a private ceremony in New York later this year.

‘Everything originates from the song and its creator’

Founded in 1969, the Songwriters Hall of Fame honours those “whose work represents a spectrum of the most beloved songs from the world’s popular music songbook”.

It selects a small group of artists on an annual basis, and fewer than 500 people have been invited in over the last fifty years.

Announcing this year’s inductees, chairman and Chic frontman Nile Rodgers said this year’s line-up “not only showcases iconic songs but also celebrates unity across various genres”.

“These songwriters have profoundly impacted the lives of billions of listeners worldwide, and it is our privilege to honour their contributions,” he added.

Also among the 2026 class is Christopher “Tricky” Stewart, who was behind Beyonce’s Single Ladies and Break My Soul, and Paul Stanley and Gene Simmons of rock band Kiss.

Footloose singer-songwriter Kenny Loggins, Terry Britten, and Graham Lyle, who wrote Tina Turner’s What’s Love Got To Do With It, have also been inducted.

Taylor is one of the best-selling music artists of all time, reaching stardom with her 12 studio albums and four re-recorded “Taylor’s Versions” albums.

Last year, it was announced she had bought back the rights to her first six albums, ending a long-running and highly publicised battle over the ownership of her music.

While her latest album secured the UK’s biggest opening week of 2025, after selling 304,000 copies in just three days.

She has been decorated with a host of awards over the years, including becoming the first performer to win the Album of the Year Grammy four times.

Awal Mohammed, while condemning the government’s stringent bail conditions during a debate, cited Shatta Wale’s arrest and the protests by his fans. He has since issued an unqualified apology, clarifying that he did not intend to insult anyone.

“The term was unnecessary, and I’m truly sorry for any offense caused. I respect the passion of fans and acknowledge that my choice of words was wrong—it was totally out of sync with my character. I sincerely apologize and hope we can move forward positively,” he stated.

In response, Shatta Wale issued a strong-worded statement cautioning against the repeated undermining of his brand and the fans who support his vision. He said attacks from some media personalities, commentators, and influential figures reflect a deeper issue of selective criticism and subtle disrespect towards certain voices in society.

“For years, I have served as a voice for the youth. My influence goes beyond music to job creation, inspiration, and representing Ghana globally. This deserves respect,” Shatta Wale said.

He added: “Enough. This is bigger than music. This is about respect, fairness, and national maturity. If we truly want to move forward as a country, then the selective criticism, coded insults, and subtle disrespect towards certain voices must end—from media houses to boardrooms, from talk shows to political spaces.”

Shatta Wale also reminded that his supporters are organised and aware of their collective strength.

“The Shatta Movement is not weak. The people are not ignorant. And the patience of the masses is not unlimited. This is not a threat. This is a reminder of reality,” he concluded.

Speaking on Adom FM’s Kasiebo is Tasty, Bishop Adu extended condolences to the bereaved family and recounted Sarpong’s long battle with illness.

“He wasn’t completely healed. In 2011, he was struck by a sickness that left him paralyzed, but through the grace of God, he recovered. In 2020, he fell sick again and had been fighting it ever since,” he said.

Bishop Adu explained that disagreements arose between himself and Sarpong’s children when they insisted on taking their father from the church’s care facility a day after the death of legendary backing vocalist Maame Adwoa Tiwaa.

“I wasn’t happy because the specialist and I were closely monitoring his condition and administering medication. But we could not stop them because he is their relative,” he added.

According to Bishop Adu, after Sarpong was taken home, he required regular oxygen treatments and struggled to eat during the last days of his life.

He said he visited Sarpong at home a week after the move and advised that he return to the facility, which has nurses, lab technicians, herbal medicine options, and daily monitoring of blood pressure and other vital signs.

“Without this level of care, patients cannot survive long, especially when blood pressure or sugar levels fluctuate, and I told the family and his caregivers, but they didn’t heed my advice,” he said.

The bishop, while withholding specifics about Sarpong’s illness, emphasized that prayers were combined with medical care to sustain him and concluded, “God knows best.”

ALSO READ:

• Legendary gospel musician Yaw Sarpong passes on

• 10 things you probably didn’t know about legendary Yaw Sarpong

In a statement issued in Accra on January 20, 2026, the family described the claims as false, malicious, and deeply offensive, stressing that there is no conflict within the family.

They expressed particular concern over suggestions that their mother could face arrest for speaking or acting on their behalf, emphasizing that their relationship with her remains strong, loving, and united.

The children also condemned what they called reckless accusations against individuals who have supported the family during this difficult period, rejecting claims that such gestures were driven by hidden agendas.

According to the statement, their loyalty to their mother is unwavering, and any reports to the contrary are deliberate falsehoods aimed at creating division.

They urged the public to disregard and stop spreading misinformation, noting that such narratives are not only hurtful to the family but also disrespectful to Daddy Lumba’s enduring legacy in Ghana’s music and cultural heritage.

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In a post shared on social media, Sarkodie expressed gratitude to the revered choir leader and songwriter for his impact on Christian music and spirituality in Ghana.

“RIP wofa Yaw Sarpong … Thank you for strengthening our faith in the almighty… may he keep you safe,” Sarkodie wrote.

The tribute quickly drew reactions from fans and industry players, many of whom echoed similar sentiments about Yaw Sarpong’s role in transforming gospel music into a powerful tool for worship, encouragement, and moral reflection.

Yaw Sarpong, leader of the famed Asomafo Choir, spent decades nurturing voices and producing timeless gospel songs that cut across generations.

His work blended traditional rhythms with strong Christian messages, earning him respect beyond church circles and into the mainstream music industry.

He passed on Tuesday, January 20, 2026, at the age of 66.

In 2020, Yaw Sarpong collaborated with Sarkodie on the gospel-inspired song “Ahobrase3.”

ALSO READ:

• Legendary gospel musician Yaw Sarpong passes on

• Doing music for 41 years has not paid off – Yaw Sarpong admits

The founder of the Asomafo gospel group passed away on January 20, 2026, at the age of 66, in Kumasi.

Yaw Sarpong and fellow musician Maame Tiwa, a key pillar of Asomafo music who died on December 7, 2025, had been receiving treatment at New Jerusalem Church at Sokoben Ampeyoo in the Atwima Kwanwoma District.

Adom News visited the community and the church to gather reactions after the news broke, since Yaw Sarpong had spent time with them.

Residents and church members close to Yaw Sarpong and Maame Tiwah broke down in tears during an interview.

They described it as “very sad” to lose two prominent musicians within months, recalling the duo’s contributions to their spiritual growth.

“It was Yaw Sarpong and Maame Tiwa who encouraged us to keep singing and praising God, even when we weren’t strong,” said a church member, fighting back tears. “It’s very sad to lose these two renowned musicians in a few months,” another church member said. 

It was also confirmed that Yaw Sarpong’s family took him away from the church after Maame Tiwah’s passing and he was no longer with the church community.

The church’s leadership is awaiting official confirmation from Yaw Sarpong’s family before breaking their silence.

Residents and traders around the church have expressed deep condolences to the family of the late gospel musician.

They are urging MUSIGA and the government to ensure Yaw Sarpong’s legacy lives on.

“We need something to remember these legends by,” said Maame Elizabeth, a trader who often served Yaw Sarpong and Maame Tiwa. “A statue or a book about their lives and contributions would be great. Our unborn babies should know who they were.”

Other traders echoed her sentiments.

“It’s painful to hear this news. They were kind people, always buying from us,” said one. A resident added, “Yaw Sarpong’s been ill for too long; I think it’s time for him to rest.”

Speaking on Monday, the actress said trolls have labelled her a witch, a situation she says has influenced how other parents and students treat her children.

“I just need my name out of your mouth. I have kids. When you write these lies, I have teenagers who are being bullied in school because of the things that you write. There are parents who tell their kids not to let my kids touch their school bags because I’m a witch,” Mercy said in a video shared on her Instagram page.

Her comments come a few days after she reportedly had a TikToker arrested for spreading false claims about her and her husband. She warned that anyone making allegations against her must be prepared to prove them in court.

The actress reiterated that her focus has always been on her family.

“I have always been in my lane. My priorities are my husband and my kids. Nothing concerns me and una. I don’t care who is doing better. Please leave my name and my husband’s name out of your mouth,” she added.

Mercy also addressed ongoing online speculation about her marriage, stressing that her personal life is no one’s business.

“When I was getting married, I don’t think I had an NDA (Non-Disclosure Agreement) with anybody to say we’re going to go in there, I’m not going to stay married, I’m going to leave. I got in alone. So, it means I have no business with anybody. There’s no reason why you wake up every morning and count the years for me and say we’re going to try and break it up, because it’s something you can’t just break. Your lies and propaganda are not working this side. I need no validation from anyone, and I know who I am,” she said.

She concluded by noting that while some issues have already been addressed, others remain ongoing, adding that she will not hesitate to hold anyone accountable, regardless of public sentiment.

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A post shared by Mercy Johnson Okojie (@mercyjohnsonokojie)

The settlement was formalized as a Consent Judgment on Tuesday, January 20, 2026, closing the lawsuits filed in May and June 2025.

The cases stemmed from publications by Evangelist Asiedua alleging that Empress Gifty was an adulteress—claims the musician said were defamatory and damaging to her reputation.

Under the agreement, Evangelist Asiedua paid GH¢100,000 to Empress Gifty to cover legal fees and related expenses, issued a public apology, and retracted the statements that prompted the lawsuits.

Both parties have requested the National Information Technology Agency (NITA) to facilitate the removal of the disputed publications from social media platforms.

Court documents confirm that the payment and apology have been made in full. In return, Empress Gifty has withdrawn all claims and waived any further demands related to the matter.

The court’s adoption of the settlement terms makes the agreement final and binding, officially concluding the dispute. Both parties have expressed their readiness to move forward.

With a career spanning over four decades, here are some key highlights of his life following his death on Tuesday, January 20, 2026.

1. Born in Accra to a Member of Parliament, Yaw Sarpong’s education was disrupted when his father died in 1966 after being imprisoned during the overthrow of Dr Kwame Nkrumah.

2. After his father’s death, economic challenges forced his mother to relocate the family to Akyease in Kumasi, where Yaw Sarpong traces his roots.

3. Driven by his love for music, he joined the Methodist singing group at Asuofua in the Ashanti Region. It was there that a medical doctor discovered him and formed a music group in 1971, performing mainly in churches and at social events.

4. During one such performance at Asuase in Kumasi, a pastor noticed his talent and offered to support him. Yaw Sarpong accepted the offer and stayed with the pastor.

5. At another church programme, he caught the attention of Professor Kofi Abraham, who also took interest in his future and offered him guidance and support.

6. In 1984, he left Professor Abraham and returned to Accra, where he worked as a taxi driver for nearly two years, between 1984 and 1986.

7. He later travelled to Liberia, where he formed the group Yaw Sarpong and Asomafo in 1986.

8. The group was made up of musicians from Liberia, Ghana and Sierra Leone, giving it a diverse West African identity.

9. Before moving to Liberia, Yaw Sarpong had already recorded his first album in 1981, titled Adesrede (Request), and followed it with a second album between 1983 and 1984.

10. He chose the name Asomafo, meaning “Messengers,” because he believed neither he nor his group members worked on their own, but rather served as vessels to spread God’s word.

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Watch the full interview with Y102.5FM in Kumasi below:

While details surrounding his death remain limited, news of his passing emerged on Tuesday, January 20, 2026.

According to information obtained by Adomonline.com, Yaw Sarpong passed away at Emena Hospital in Kumasi, where he was receiving treatment.

His death comes barely a month after Adwoa Tiwaa, his celebrated backing vocalist and member of the Asomafo music group passed away on Sunday, December 7, 2025.

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

With a passion for singing, Mr Sarpong in the early stages of life joined the Methodist singing group at Asuofua (in the Ashanti Region) where he was discovered by one Medical Doctor who also wanted to form a music group in 1971.

The group used to perform in churches and other event centres.

It was during such performances at Asuase in Kumasi, a pastor approached Mr Sarpong and offered to take care of him. Mr Sarpong took the chance and lived with him.

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.

Scores of Ghanaians including former Vice President Dr. Mahamudu Bawumia and his wife, Samira Bawumia extended support to him.

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.

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The sexually offensive remark was posted by an individual identified as “Ghatu” on Twitter (now X) under a video Fella shared of her daughter, Island.

Makafui described the comment as crossing all boundaries, exposing her child to language and perceptions no minor should ever be subjected to.

“The incident has caused me significant emotional distress and sleepless nights. No parent should be forced to witness their child being spoken about in such a harmful and inappropriate manner,” she said.

Although the individual has issued an apology, Makafui stressed that it does not erase the nature of the comment and cannot simply be dismissed.

Due to the seriousness of the matter, she revealed that the issue has been formally reported and is now being handled by her legal team.

She emphasized that she will not engage in online exchanges regarding the incident, noting that it has gone beyond social media debate and is now about protecting the dignity and safety of her child.

Police confirmed that the case has been transferred to the State Criminal Investigation Department (SCID), Homicide Section, for a full and detailed investigation into the circumstances surrounding the artiste’s death.

In a statement issued on Monday and signed by the Police Public Relations Officer, Babaseyi Oluseyi, the command confirmed that investigations are officially underway.

“The Ogun State Police Command has commenced investigations into the death of Adesina Afeez, aged 22 years, popularly known as Destiny Boy. The case has been transferred to the State Criminal Investigation Department, Homicide Section, for detailed investigation. One suspect is currently in custody while investigations are ongoing,” the statement read.

News of Destiny Boy’s death broke on Sunday after videos circulated on social media showing his body being transported to a mortuary, sparking widespread grief among fans and fellow artistes.

In one of the videos, the late singer was seen lying in the back of a vehicle with cotton wool placed in his nostrils and ears.

As speculation grew online, an associate of the singer released a separate video, claiming Destiny Boy had been battling a private health condition prior to his death. According to the associate, attempts were made to save the singer, but all efforts proved unsuccessful.

Police have not confirmed the cause of death and say investigations are ongoing to establish the facts and determine any criminal liability. The command has urged the public to remain calm and allow due process to take its course.

The Fondazione Valentino Garavani and Giancarlo Giammetti stated, “Our founder, Valentino Garavani passed away today at his Roman residence, surrounded by his loved ones.

The lying in state will be held at PM23 in Piazza Mignanelli 23 on Wednesday January 21st and Thursday January 22nd, from 11:00 am to 6:00 pm. The funeral will take place on Friday, January 23rd at the Basilica Santa Maria degli Angeli e dei Martiri, in Piazza della Repubblica 8 in Rome, at 11 am.”

Universally known by his first name, Valentino was adored by generations of royals, first ladies and movie stars, from Jackie Kennedy Onassis to Julia Roberts and Queen Rania of Jordan, who swore the designer always made them look and feel their best.

“I know what women want,” he once remarked. “They want to be beautiful.”

Never one for edginess or statement dressing, Valentino made precious few fashion faux-pas throughout his nearly half-century-long career, which stretched from his early days in Rome in the 1960s through to his retirement in 2008.

His fail-safe designs made Valentino the king of the red carpet, the go-to man for A-listers’ awards ceremony needs. His sumptuous gowns have graced countless Academy Awards, notably in 2001, when Roberts wore a vintage black and white column to accept her best actress statue.

Cate Blanchett also wore Valentino — a one-shouldered number in butter-yellow silk — when she won the Oscar for best supporting actress in 2004.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Entries opened in early January and will close on Sunday, 15 February 2026, inviting filmmakers and content creators across the continent to submit their work for consideration.

The AMVCA remains MultiChoice’s flagship initiative dedicated to recognising, celebrating, and rewarding exceptional African storytelling across film and television.

The 12th edition will once again spotlight the growth, creativity, and global potential of Africa’s entertainment industry, while reinforcing the AMVCA’s position as the continent’s most prestigious awards platform.

The 12th AMVCA is proudly headlined by Don Julio as Lead Sponsor, marking a continued evolution of the awards into a premium, culturally influential celebration of African excellence, creativity, and craftsmanship.

Building on a legacy of recognising both established and emerging talent, the 12th AMVCA introduces key enhancements that deepen its pan-African reach. Notably, this edition expands its Indigenous Language categories with the introduction of:

• Best Indigenous Language – North Africa
• Best Indigenous Language – Central Africa

These additions reflect the AMVCA’s commitment to Pan-Africanism, cultural preservation, and equitable representation, ensuring that Africa’s diverse languages, regions, and creative voices are more fully celebrated on a continental stage.

The 12th AMVCAs will feature 32 award categories, including 18 jury-decided categories and 11 audience-voted categories, alongside two special recognition awards for Lifetime Achievement and one Trailblazer award. Eligible entries must have been broadcast or publicly screened between 1 January 2025 and 31 December 2025. Feature-length films must have been screened in cinemas, on linear television, and/or on streaming platforms to qualify.

All submissions must be completed online via the official AMVCA portal, with full preview copies uploaded as screened or broadcast. Detailed guidelines, eligibility criteria, and submission requirements are available at www.africamagic.tv/amvca.

Renowned for its celebration of African talent, iconic red-carpet moments, fashion, and cultural impact, the 12th AMVCA promises another unforgettable celebration of African film, television, and creative expression. The awards ceremony will take place in Lagos, Nigeria, in May 2026, with further details to be announced in the coming months.

For more information on submissions, guidelines, and updates, visit www.africamagic.tv/amvca and follow Africa Magic on Facebook and Instagram.

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

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

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

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

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

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

Other victims

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

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

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

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

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

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

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

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

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

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

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

Other victims

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Marriage spoils everything,” she added.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The live music event, titled “Ghana Independence UK with Nkyinkyim Band,” promises an energetic night of Afro-fusion, highlife, and contemporary Ghanaian sounds.

The concert is scheduled for Friday, 13 March, at The Royal Regency in East London, with activities starting at 8:00 p.m. The venue, located at 501 High Street North, E16 6TH, is expected to welcome a diverse crowd of music lovers and members of the Ghanaian diaspora, all coming together to mark Ghana’s independence in style.

Known for their electrifying live performances and unique blend of traditional and modern African music, the Nkyinkyim Band will lead the celebration, delivering a performance that reflects Ghana’s cultural richness and creative energy.

Tickets are available on Eventbrite, with prices set at £30 for Standard, £40 for VIP, and £60 for VVIP, offering fans various levels of access and experience.

Organisers emphasise that the concert is not just a music event but a cultural gathering aimed at celebrating Ghana’s independence, heritage, and global influence through music and performance.

As Ghana’s Independence season continues to be celebrated worldwide, London’s event with the Nkyinkyim Band is shaping up to be one of the standout cultural highlights of the season.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“This song is my personal testimony of God’s faithfulness,” Cindy Mezziah said. “I wanted to create something that resonates with anyone walking through a storm, reminding them that God is always fighting on their behalf.”

The release follows a string of previous songs that have gained traction in both the United States and Ghana, further positioning Cindy Mezziah as an emerging voice in inspirational music. With passionate vocals and uplifting production, “Still Holding On” is designed to encourage listeners and strengthen their faith.

The song is available on Spotify, Apple Music, YouTube, and all major streaming platforms. The official music video can also be viewed on Cindy Mezziah’s YouTube channel.

About Cindy Mezziah

Cindy Mezziah is a faith-driven recording artist and songwriter whose music fuses soulful melodies with inspirational themes. Drawing from her Ghanaian roots and international experience, her artistry seeks to uplift, encourage, and remind listeners of God’s unwavering presence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

British actor Joe Alwyn also appears in Hamnet.

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

Emily Blunt and husband John Krasinski posed for photographers.

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

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

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

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

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

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

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

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

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

Jennifer Lopez wore a sheer dress with a floral pattern.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Below is the full list of winners.

Best Male Artist in Central Africa

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

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

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

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

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

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

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

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

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

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

CONTINENTAL CATEGORY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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